HomeMy WebLinkAboutHistoric Preservation Design Guidelines (PDF)City of Aspen
Historic Preservation
Design Guidelines
Historic Preservation
Design Guidelines
table of contents
introduction
historic overview
design guidelines:
rehabilitation
appendix
Why Preserve Historic Resources 8
Purpose of the Design Guidelines 10How to Use the Guidelines 10Design Review Process 13
Aspen Historic Overview 16
Architectural Styles in Aspen 21
Chapter 2: Building Materials 52
Chapter 3: Windows 55Chapter 4: Doors 59Chapter 5: Porches & Balconies 63
Chapter 6: Architectural Details 66
Chapter 7: Roofs 68
Chapter 8: Secondary Structures 73
design guidelines:
new construction
Chapter 9: Excavation, Building Relocation, & Foundations 76Chapter 10: Building Additions 79
Chapter 11: New Buildings on Landmarked Properties 85
Secretary of the Interior’s Standards
for Historic Preservation 94
design guidelines:
general
Chapter 12: Accessibility, Architectural Lighting,
Mechanical Equipment, Services Areas, & Signage 90
design guidelines:
context
Chapter 1: Site Planning & Landscape Design 36
Introduction
8 • City of Aspen • Historic Preservation Design Guidelines
Aspen is a unique community, rich with history, dramatic landscapes, a vibrant economy, and vital
cultural scene. Each of these elements contributes
to the appeal of the City and enhances its livability.
Within this context, the preservation of historic resources is a high priority. This policy is articulated in the Aspen Area Community Plan and in ordinances
that address protection of landmarked properties and
historic districts.
This document provides background on the City’s preservation program and local history and then
presents design guidelines that articulate policies for
the treatment of locally-designated historic properties
and districts.
Why Preserve Historic Resources
Across the nation, thousands of communities
promote historic preservation because doing so
contributes to neighborhood livability, variety, and quality of life, minimizes negative impacts on the environment and yields economic rewards. These
same reasons apply in Aspen. Preservation of the
built environment in Aspen provides a fundamental
link to the past. Many of the buildings tell the story of Aspen’s unique historical development. Preserving these resources creates a sense of place for those
who live here and provides visitors a connection with
this unique heritage.
Construction Quality
Many of the historic structures in the City are of high
quality construction. Other buildings are more modest, but even so may have used lumber from mature trees that were properly seasoned and typically milled to
full dimension, which often yields stronger framing.
Historic masonry walls were carefully laid, resulting in
buildings with considerable stability.
Many older structures were thoughtfully detailed and
the finishes of materials, including fixtures, wood
floors and trim, were of high quality and exemplify
hand craftsmanship that is more unusual today.
Some AspenModern structures represent early use of
building technologies that continue to be favored.
Adaptability
Owners frequently find that the floor plans of historic
buildings easily accommodate modern lifestyles and support a diversity of populations. Many rooms are large, permitting a variety of uses while retaining
the overall historic character of the structure. Even
historic buildings that are smaller in scale often have
lots that can accommodate additions, if needed.
Livability and Quality of Life
When groups of older buildings occur as a historic
district, such as along Main Street or the Commercial Core in Aspen, they create a street scene that is pedestrian friendly, and encourages walking and
neighborly interaction. Mature trees and decorative
architectural features also contribute to a sense of
identity that is unique for each historic neighborhood—an attribute that is rare and difficult to achieve in newer areas of a city. These therefore are desirable
places to live and work.
Environmental BenefitsPreserving a historic structure is sound environmental
conservation policy because “recycling” saves energy
and reduces the need for producing new construction
materials. Three types of energy savings occur:
IntroductIon
introduction
Note: Not every guidelines will apply to each
project, and some balancing of the guidelines
must occur on a case-by-case basis. The
Aspen Historic Preservation Commission (HPC) must determine that a sufficient number of the
relevant guidelines have been adequately met in
order to approve a project proposal. It must be
emphasized that these are only guidelines and
they are not applicable in all cases, and need to be weighed with the practicality of the measure.
City of Aspen • Historic Preservation Design Guidelines • 9
• First, energy is not consumed to demolish the
existing building and dispose of the resulting
debris.
• Second, energy is not used to create new building materials, transport them and assemble them on site.
• Finally, the embodied energy which was used to
create the original building and its components,
is preserved.
By reusing older buildings, pressure is reduced to harvest new lumber and other materials that may have negative effects on the environment of other
locales where these materials are produced.
Economic BenefitsHistoric resources are finite and cannot be replaced,
making them precious commodities that many buyers
seek. Preservation adds value to private property.
Many studies across the nation document that, where local historic districts are established, property values typically rise, or at least are stabilized. In this sense,
designation of a historic district appears to protect
investment. Property owners within the district know
that the time and money they spend on improving their properties will be matched with similar efforts on surrounding lots. Arguably, this applies to Aspen
as well.
Nationwide studies prove that preservation projects also contribute more to the local economy than do new building programs because each dollar spent
on a preservation project has a higher percentage
devoted to labor and to the purchase of materials
available locally. By contrast, new construction typically has a higher percentage of each dollar spent devoted to materials that are produced outside of
the local economy and to special construction skills
that may be imported. When money is spent on
rehabilitating a building, it has a higher “multiplier effect,” keeping more money circulating in the community. Rehabilitation therefore, provides more
jobs for Aspen area residents.
Heritage TourismPreservation minded communities are among
the leading tourist destinations. Aspen has an
authenticity that visitors appreciate. There are many
opportunities to connect with the history of Aspen as a tourist and this contributes to longer stays and repeat visits.
Incentives for PreservationWhile the economic benefits are substantial, special
incentives also exist to help offset potential added
costs of appropriate rehabilitation procedures.
Income tax credits are offered at the state and federal levels for appropriate rehabilitation. Eligible projects also can qualify for the Colorado Historical Society’s
State Historical Fund, a substantial opportunity for
owners of commercial and significant residential
properties.
The City also offers financial bonuses which are
available for historic landmarks. The Aspen Historic
Preservation Commission (HPC) has the ability to
award zoning bonuses to historic landmarks.
Responsibility of Ownership
Ownership of a historic property carries both the
benefits described above and a responsibility to respect the historic character of the resource and its setting. While this responsibility does exist, it does not
automatically translate into higher construction or
maintenance costs. Ultimately, residents and property
owners should recognize that historic preservation is a long-range community policy that promotes economic wellbeing and overall viability of the City
at large and that they play a vital role in helping to
implement that policy through careful stewardship of
the area’s historic resources.
Levels of Historic Designation in AspenLocal Landmark
The City has identified approximately 300 historic
resources, including buildings, structures, parks,
cemeteries, and bridges as historic landmarks. Because there was a long period of economic depression at the turn of the 20th century, historic
development in Aspen generally occurred either in the
silver mining era (these resources are termed Aspen
Victorian) or around World War II (these resources are termed AspenModern).
The local register designation process is established
through the police powers of Aspen’s zoning
ordinance. Criteria for designation are set forth in city codes and designated properties are subject to protections outlined in the ordinance, including
demolition and design review. In general, any exterior
alteration to an inventoried property must be reviewed
and approved before work can begin.
District Designation
Currently, the City of Aspen has two locally designated
historic districts, the Main Street Historic District, and the Commercial Core Historic District. The districts were created to preserve the character of entire
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10 • City of Aspen • Historic Preservation Design Guidelines
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neighborhoods. In general, any demolition, exterior
alteration, or construction on a property within a
historic district must be reviewed and approved before work can begin.
National Register Listing
The National Register of Historic Places is a list of sites and properties of historic significance that is maintained by the Secretary of the Interior. Properties
so listed may have national significance, but they
may also be listed if they are determined to have
significance at a state or local level. The National Register is administered by the National Park Service and nominations are submitted through the State
Historic Preservation Officer in Denver, using criteria
adopted by the Secretary of the Interior. Properties
listed in the National Register may be eligible for federal income tax credit incentives. Designated properties are also protected from federally-funded projects
which might harm or alter the historic character.
Such federal projects must be reviewed for their
potential negative impact. In these cases, alterations are reviewed by the National Park Service. Otherwise, only the standard process for all Aspen landmarks
applies. The History Colorado website lists National
Register properties by county: historycolorado.org/
oahp/pitkin-county.
Purpose of the Design Guidelines
These design guidelines are specifically for
properties listed on the “Inventory of Historic Sites
and Structures,” inside and outside of the historic districts. Additional guidelines for the Main Street and Commercial Core Historic Districts are found in the
“Commercial, Lodging, and Historic District Design
Objective and Guidelines”, a separate document
available on aspenpitkin.com.
The design guidelines serve to reinforce the purpose
of the Historic Preservation Chapter in the Aspen
Land Use Code:
• Recognize, protect, and promote the retention and continued utility of the historic buildings and districts in the City.
• Promote awareness and appreciation of Aspen’s
unique heritage.
• Ensure the preservation of Aspen’s character as an historic mining town, early ski resort and cultural center.
• Retain the historic, architectural and cultural
resource attractions that support tourism and the
economic welfare of the community.
• Encourage sustainable reuse of historic
structures.
• Encourage voluntary efforts to increase public information, interaction or access to historic building interiors.
The design guidelines provide a basis for making
decisions about the appropriate treatment of historic
resources and compatible new construction. They
also serve as an educational and planning tool for property owners and their design professionals who
seek to make improvements that may affect historic
resources.
How to Use the GuidelinesWhile the design guidelines are written such that they
can be used by the layman to plan improvements,
property owners are strongly encouraged to enlist
the assistance of qualified design and planning
professionals, including architects, landscape architects, structural engineers, preservation
contractors, and preservation consultants to assure
that the work contemplated will help preserve the
historic character of the City.
Any affected property owner who plans to make
changes to the exterior of a building must obtain a
Certificate of No Negative Effect or a Certificate of
Appropriateness. In order to review each project in a
consistent manner, City Preservation Staff and the HPC will use these guidelines as a basis for determining
the appropriateness of the work proposed.
How Many Guidelines Must Be Met?
Note that not every guideline will apply to each project,
and that some balancing of the guidelines must occur
on a case-by-case basis. City Staff or the HPC will determine that a sufficient number of the relevant
guidelines have been adequately met in order to
approve a project proposal.
What is the Format of a Guideline?
The chapters containing design guidelines are
organized in a format that provides background information as well as specific regulatory language.
Each of these chapters contains the following
components:
Policy Statement
A broad statement explaining the City’s basic
approach for the treatment of the design feature being
discussed. This statement provides the basis for the
City of Aspen • Historic Preservation Design Guidelines • 11
more detailed background information and design
guidelines that follow. In a case in which special
conditions in a specific project are such that the detailed design guidelines do not appear to address the situation, then this broad policy statement serves
as the basis for determining the appropriateness of
the proposed work.
Background Information
A discussion of the issues typically associated with
the specific design topic is presented next. This
may include technical information, such as factors associated with the preservation of a historic building material, as well as general preservation theory that is
relevant to the topic at hand.
Pertinent Sub-TopicsThe sections that follow the background information
are divided into sub-topics. For example, in the chapter
addressing Building Materials, the sub-topics include:
treatment, repair and replacement. This organization allows the user to quickly select the specific design topics within a section that are relevant.
Design GuidelinesThe specific design guidelines are presented as bold
face statements under each sub-topic. These are also
numbered to indicate their relative position within the
chapter and to aid in specific reference in the review process. Also provided with the design guidelines are supplementary requirements, which are bulleted (•)
statements. These supplementary statements clarify
the primary design guideline statement and may
suggest specific methods for complying with it.
How Were the Design Guidelines Developed?The City’s first preservation guidelines were adopted in 1972. The guidelines have been revised and improved
multiple times taking community input and the
experience of the Historic Preservation Commission
into account. The design guidelines incorporate concepts set forth in The Secretary of the Interior’s Standards for the Treatment of Historic Properties
(listed in the Appendix)—a nationally accepted set of
basic preservation design principles. This document
is compatible with the Secretary of the Interior’s Standards, while expanding on how these basic preservation principles apply in Aspen.
The Concept of Historic SignificanceWhat makes a property historically significant? It is
generally recognized that a certain amount of time
must pass before the historical significance of a
property can be evaluated. The National Register, for
example, requires that a property be at least 50 years
old or have extraordinary importance before it may be considered. Aspen does not have a minimum age for designation.
A property may be significant for one or more of the
following reasons:
• Antiquity
• Association with events patterns, trends, or people that have contributed to local, state, regional, or national history.
• Physical design associated with distinctive
characteristics of a building type, period, or
construction method.
• An example of an architect or master craftsman or an expression of particularly high artistic values.
• Singular significance to the City.
• Integrity of location, design, setting, materials, workmanship, feeling and association.
Period of Significance
Every historic building or district has a period of
significance—or the time span during which it gained architectural, historical or geographical importance. In most cases, a property is significant because it
represents or is associated with a particular period in
history. Frequently, this begins with its construction
date and continues through the peak of early occupation. Building fabric and features that date from the period of significance typically contribute to
the character of the structure or district.
Concept of “Integrity”In addition to being historically significant, a property
also must have integrity—a sufficient percentage
of the structure must date from the period of
significance. The majority of the building’s structural system and its materials should date from that time and its key character defining features also should
remain intact. These may include architectural details
as well as the overall mass and form of the building.
It is these elements that allow a building or district to be recognized as a product of its time.
Preservation Principles
While the guidelines in this document provide direction
for specific design issues, some basic principles form
the foundation for them. The following preservation principles apply to all historic properties in Aspen.
IntroductIon
12 • City of Aspen • Historic Preservation Design Guidelines
IntroductIon
Respect the historic design character of the
building.
Don’t try to change a building’s style or make it look older than it really is. Confusing the character by mixing elements of different styles is not appropriate.
Seek uses that are compatible with the historic character of the building.
Uses that closely relate to the building’s original use
are preferred. Every reasonable effort should be made to provide a compatible use for the building that will require minimal alteration to the building and its site.
Protect and maintain significant features and stylistic elements.
Distinctive stylistic features or examples of skilled
craftsmanship should be treated with sensitivity. The
best preservation procedure is to maintain historic features from the outset so that intervention is not required.
Repair deteriorated historic features, and replace only those elements that cannot be
repaired.
Maintain the existing material, using recognized preservation methods whenever possible. If disassembly is necessary for repair or restoration, use
methods that minimize damage to original materials
and re-install in the existing configuration.
Selecting a Preservation Approach
Each preservation project is unique. A project may include a variety of treatment techniques, including the repair and replacement of features and maintenance
of those already in good condition. Some of the basic
preservation treatments are described in the section
that follows. In each case, it is important to develop an overall strategy for treatment that is based on an analysis of the building and its setting.
Analysis should begin with an investigation of the
history of the property. This may identify design alterations that have occurred and may help in developing an understanding of the significance
of the building as a whole, as well as its individual
components. Sources for historic information
include the City of Aspen Community Development Department, the Aspen Historical Society, and two City websites; aspenvictorian.com and aspenmod.com. Denver Public Library Western History
Collection (digital.denverlibrary.org) and on-line fire
insurance maps from the turn of the century, Sanborn Maps, (cudl.colorado.edu) are also helpful.
Historical research should be combined with an
on-site assessment of existing conditions. In this inspection, identify those elements that are original and those that have been altered. Also determine the
condition of individual building components.
Finally, list the requirements for continued use of the property. Is additional space needed? Or should the work focus on preserving and maintaining the
existing configuration?
In addition to the historical background, research should also be done which identifies the preservation incentives offered by the HPC. The preservation
incentives are a way for the property owner to improve
a project and make it more sympathetic to the historic
resource.
By combining an understanding of the history of the
building, its present condition, and the need for action,
one can then develop a preservation approach. When
doing so, consider the following terms:
Maintenance
Work that often focuses on keeping the property in
good condition by repairing features as deterioration becomes apparent, using procedures that retain the original character and finish of the features. In
some cases, preventive maintenance is executed
prior to noticeable deterioration. No alteration or
reconstruction is involved. Property owners are strongly encouraged to maintain their property in good condition so that more aggressive measures
of rehabilitation, restoration or reconstruction are not
needed.
Preservation
Preservation is keeping an existing building in good
condition by a careful program of maintenance and repair. It will often include repair and stabilization of materials and features in addition to regularly
scheduled maintenance.
RestorationTo restore, one reproduces the appearance of a
building exactly as it looked at a particular moment
in time; to reproduce a pure style—either interior or
exterior. This process may include the removal of later work or the replacement of missing historic features. A restoration approach is used on missing
details or features of a historic building when the
features are determined to be particularly significant
to the character of the structure and when the original
City of Aspen • Historic Preservation Design Guidelines • 13
IntroductIon
configuration is accurately documented.
RehabilitationRehabilitation is the process of returning a property
to a state which makes a contemporary use possible
while still preserving those portions or features of
the property which are significant to its historic, architectural and cultural values. Rehabilitation may include the adaptive reuse of the building and
constructing additions. Most good preservation
projects in Aspen may be considered rehabilitation
projects.
Adaptive Use
Converting a building to a new use that is different from its original purpose is considered to be adaptive use. For example, converting a residential structure to
offices is adaptive use. A good adaptive use project
retains the historic character of the building while
accommodating new functions.
While adaptive use allows the building owner to
convert the building to a purpose other than that
for which it was designed, it should be done with
respect to the original building form. For example, it would be inappropriate to turn the living room of a historic building into a bathroom. The reason for this
is that when the programmatic uses of a building are
drastically altered, this often results in a major change
to the original floor plan as well as to the exterior appearance of the building. When adaptive use is the preferred preservation alternative, the proposed
design should honor the original building function as
closely as possible.
Combining Preservation Strategies
Many successful projects that involve historic
structures in Aspen may include a combination of preservation, restoration, and other appropriate treatments. For example, a house may be adapted to
use as a restaurant, and in the process, missing porch
brackets may be replicated in order to restore the
original appearance, while existing original dormers may be preserved.
Planning a Preservation ProjectOnce the basic approach to a project has been defined,
it is important to assess the property and to identify
any significant character-defining features and
materials. Retaining these elements, and then using the guidelines to select an appropriate treatment mechanism will greatly enhance the overall quality
of the preservation project. In making the selection
follow this sequence:
1. If a feature is intact and in good condition,
maintain it as such.
2. If the feature is deteriorated or damaged, repair it to its original condition.3. If it is not feasible to repair the feature, then
replace it with one that is the same or similar
in character (materials, detail, finish) to the
original one. Replace only that portion which is beyond repair.4. If the feature is missing entirely, reconstruct it
from appropriate evidence.
5. If a new feature or addition is necessary, design
it in such a way as to minimize the impact on original features.
Design Review Process
The Aspen Historic Preservation Commission
The City Council appoints volunteers to the Aspen
Historic Preservation Commission (HPC). The HPC
is comprised of members who are city residents, have an expressed interest and expertise in historic preservation, and are knowledgeable about the
heritage of the City.
Some work is exempt from historic preservation review and other work may qualify for an Administrative Review by the Community Development Department.
Approval is generally not required for a change in
paint color or interior alterations. A Community
Development Department review includes work such as signs, fences, roofs and repairs. More substantial projects are reviewed by HPC.
Applicants are encouraged to participate in a pre-
application conference with the Historic Preservation Officer (HPO), available in the Community Development Department. At this conference, the
HPO will identify any necessary review process,
discuss approvals that may be needed from other city
boards, provide application forms, and suggest any modifications which may make the application more consistent with the standards and guidelines.
Importance of Acquiring a PermitOnce approvals are granted, a property owner may
Any contractor, superintendent, or owner/builder wishing to receive a building permit to work on a
historic structure will be required to complete the
“Aspen/Pitkin County Preservation Awareness
Program” and receive a specialty license in historic preservation.
14 • City of Aspen • Historic Preservation Design Guidelines
IntroductIon
apply for a building permit. Obtaining a building
permit is a crucial step in any construction process.
If a city building or zoning inspector finds that work is occurring without a permit, the work is stopped, or “red tagged.” In the simplest situation, construction is
delayed; in more contentious cases, the work has to be
reversed or rebuilt, resulting in long delays, additional
fees and fines, and occasionally court appearances. Undertaking an act of demolition on a landmarked structure without HPC approval may result in a long
term suspension of building permits for the property.
Building permits are not only a way for the City to keep track of applications, but they also serve as protection for the owner. Obtaining a building permit means that
the work will be inspected to determine that it has
been executed correctly.
The HPC is deeply committed to its responsibilty in protecting the visual memory of the community and
ensuring that historic resources are respected within
the evolution of the City.
There are many possible directions to take when approaching a preservation project. The Commission
appreciates a clear explanation of context, how the
proposal contributes to a sense of place in the
community, and site analysis. An applicant should explain their intent and approach and provide models, story poles, material samples and other information
to assist the review process.
Historic overview
16 • City of Aspen • Historic Preservation Design Guidelines
Aspen has experienced several cycles of development
in its history, beginning with the mining industry of
the 1880s, the creation of the skiing industry in the
1930s and the City’s transformation into a center for
arts and culture in the 1940s, all of which have led to
the contemporary attraction it holds for intellectuals,
outdoor enthusiasts and life-style connoisseurs.
The Early Years - Mining
Aspen is located in the Upper Roaring Fork Valley,
where people have lived for at least 5,000 years. The
Ute Indians arrived in the area around 1400 A.D. and
controlled the region until the 1870s, preventing access
to most of the valley under the 1868 Ute Reservation
Settlement Act. However, they did allow the Hayden
Survey to be completed in 1873, which was ultimately
responsible for determining the evidence of gold and
silver in the surrounding mountains.
Following the reports from the Hayden Survey, in the
summer of 1879, four prospectors from Leadville
arrived in the valley to explore the mining potential.
Quickly, they sank shafts to indicate they had mined
the land and filed claims upon their return to Leadville.
By the end of 1879 at least 35 prospectors camped
at the base of Aspen Mountain, enduring the winter
so as not to lose potential fortunes. The resulting
pressure to mine and allow settlement of the area led
to the removal of the Ute people to Utah.
Henry B. Gillespie and B. Clark Wheeler, two ambitious
men who would come to direct the growth of the
region, arrived in the mining camp in the spring of
1880. Although it was Gillespie who initiated the
efforts to create a town (which was to be called Ute
City), Wheeler was first to complete a survey, and he
gave Aspen its name. In March of 1880, B. Clark
Wheeler incorporated the Aspen Town and Land
Company with the financing of eastern capitalists.
Initially, Aspen was a typical mining camp, with
tents and crude log structures for businesses and
homes. Transportation into the area was only by way
of Taylor Pass, through Ashcroft until 1881, when
the Independence Pass Toll Road was completed.
Between 1883 and 1885, the population increased
from 500 to 3,500 people, and the town had municipal
water service, a telegraph, telephones and electricity,
thanks to what was reportedly the first commercially
operated hydroelectric plant in the United States.
HIstorIc overvIew
A spen H istoric overview
View of Aspen in 1900.
City of Aspen • Historic Preservation Design Guidelines • 17
Aspen was in the thrust of a building boom, including
construction of over twenty business buildings, and in
1884, well over one hundred homes to meet a housing
shortage. Civic improvements were made and the City
Council added street signs and house numbers. The
town was platted into 30’x100’ lots and the city was
divided east-west by Center Street (now Garmisch
Street,) and north-south by Main Street. These two
thoroughfares were both 100-feet-wide, while other
streets were 75-feet. The residential districts were
generally within proximity to the trails leading to the
mines. The commercial district, originally four blocks
in size, was located at the base of Aspen Mountain.
The industry associated with the mining process
such as the mills were located on the perimeter of the
town. According to the Time’s editor, reflecting on the
character of the town, “the pretty cottages, the palatial
stores and the neat churches and public buildings,
attest to their energy, prosperity and cultivation.”
Many of Aspen’s achievements in the mid-1880s
can be attributed to an eastern capitalist, Jerome
B. Wheeler, no relationship to B. Clark Wheeler.
Among other investments, Wheeler facilitated
the development of two major sources of mining
infrastructure—a smelter to process the ore locally for
greater economic return and a railroad to connect the
town to outlying regions.
By 1886, two railroad companies were in competition
to reach Aspen first; the Denver & Rio Grande Railroad
and the Colorado Midland Railroad, which was
partially bankrolled by Jerome Wheeler. The first train
on the Rio Grande line pulled into Aspen in November
of 1887. The Colorado Midland was hindered by
bridge construction over Maroon and Castle Creeks,
but ultimately arrived in town in December 1887. The
railroad cars carried three to four thousand tons of ore
each week to be processed; the returning cars brought
valuable merchandise, including commodities and
luxury items.
As Aspen prospered, around 1888, more substantial,
brick and stone, high style buildings began to be built.
It was the custom of the day for successful
businessmen to build a city block in a unified
architectural style, using the best location for his own
business and renting out to others. The business
blocks (for example the Aspen Block, on the southwest
corner of Hyman and Galena) were symbols of the
prosperity of the town, and the individuals for whom
they were named, as well as a growing civic pride.
Two of the most important structures built during this
period were financed by Jerome B. Wheeler—the
Wheeler Opera House and the Hotel Jerome.
Most of the houses built during this time were from
designs found in pattern books, volumes of building
plans that were widely available. The majority of the
homes were wood frame, although some larger and
more elaborate houses were constructed of brick.
The miner’s cottages generally measured twenty-
eight feet by thirty feet and were divided into five main
spaces: a parlor (with bay window), sitting room,
kitchen, sleeping area and a porch. An outhouse and
sheds for livestock also would have been located on
the lot. Exterior detailing on the cottages was relatively
minimal, mostly focusing on the porch and the most
prominent window. Produced at a rate of four per day,
this family house, painted, plastered and ready for
occupancy, cost $1,000.00 to build. The 300 block of
HIstorIc overvIew
A view of Cooper Avenue in 1900.
A view of houses on Lake Avenue in 1910.
18 • City of Aspen • Historic Preservation Design Guidelines
HIstorIc overvIew
E. Main Street contains examples of the pattern-style,
vernacular miner’s cottage.
Residential landscapes at this time were often
utilitarian in design, with small vegetable gardens
and few ornamental plantings. Fences were low
and transparent in nature to provide some definition
between private yards and the public right-of-way.
The planting of cottonwood rows was the dominant
landscaping feature in the residential and commercial
districts. Small irrigation ditches to promote growth
linked the tree-plantings.
In spite of fast-paced construction, by 1889 the
housing shortage continued in Aspen, especially for
miners’ families. In response, in September of 1889,
the city council chartered a company to create a
horse-drawn streetcar line. The completed system
stretched two miles, crisscrossing the town and
changing the face of Aspen by expanding its limits
beyond the walking capacity of pedestrians.
The Silver Crash - Aspen’s Quiet Years
By 1892 Aspen was the third largest city in Colorado
with 12,000 residents—only surpassed by Denver and
Leadville. Aspen did outpace Leadville as Colorado’s
leading silver producer, and housed the largest opera
house in the state and finest luxury hotel on the
Western Slope. In the spring of 1893, the financial
success of Aspen crashed when Congress repealed
the Sherman Silver Purchase Act. The “Silver Queen”
of the Rockies came to a grinding halt, as did almost
all of Colorado’s silver mines. By the end of 1893,
the mining workforce had dropped from 2,250 to
150 men. By 1900, Aspen’s total population had
dropped to 3,300 people and by 1930 had reached
a low of 700 people. The events of 1893 initiated a
period commonly referred to as the ‘’Quiet Years’,
which lasted until the 1930s. Homes were vacant,
stores empty and the grand architecture of the
commercial and residential blocks entered a long
stage of deterioration and neglect. Entire blocks were
barren without a single occupied house and buildings
stood as bare skeletons, the victims of salvaging for
materials, fire and vandalism.
During the “Quiet Years,” most people survived on
modest resources. Residents raised much of their
own food, merchants extended credit when possible
and neighbors shared with neighbors. Throughout
this extended depression numerous records indicate
an enduring pulse of optimism amongst Aspenites.
The theme of unfailing pride dominated during the
“Quiet Years.”
The major transportation services, the Midland
Railroad and the Rio Grande Railroad were also
affected by the financial crisis. The Midland line was
purchased by the Santa Fe Railroad, but the route was
abandoned by 1900 and the track was removed by
1921. The Rio Grande was more fortunate and endured
the silver crash by hauling cattle and sheep rather
than silver. By the 1930s and 1940s it once again met
market demands by hauling the building materials
and eventually passengers for the development of
Aspen as a ski resort.
Aspen’s Second Cycle-Ski Town
Snow and spectacular mountains would provide
the resources in the 1930s for Aspen to begin
development as an international ski resort. While
miners had previously used old barrel staves to slide
down the mountain after work, they never guessed
that this transportation method would be the next
boom for their remote mining town.
It was the chance meeting of a miner’s son, Tom
Flynn, with Olympic bobsled champion, Billy Fiske
in California that initiated speculation for the ski-
industry in Aspen. Fiske soon hired Andre Roch,
a celebrated mountaineer, avalanche expert and
engineer, to survey the area. Roch spent the next six
months identifying the recreational advantages of
the region. Following the survey, Fiske and capitalist
Theodore Ryan personally cleared brush off the
hillside, creating the first alpine slope near Aspen.The Marolt Ranch in 1920, with the defunct Holden Lixiviation Plant (a silver processor) in the background.
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Roch developed a downhill race course. Originally
called “Roch Run Trail” or “the Roch”, only a section
of the original course remains today. Roch believed
that by creating a race course, Aspen would receive
more publicity, thereby development of the mountain
would be accomplished more quickly. It was a great
success, attracting not only top skiers, but visionary
capitalists.
In 1938, Roch’s served as the site for the Rocky
Mountain Ski Association Championship and by
1941, the Aspen Ski Club hosted the U.S. World
Alpine Championships. World War II interrupted the
development of Aspen skiing; but troops in training
at the 87th Mountain Infantry and later the 10th
Mountain Division would come to test their skills on
the weekends. After the war, many of these same
people came back to settle in Aspen and continue
the momentum of developing its skiing potential.
By 1950 Aspen was internationally famous for its
terrain, World Cup Ski events and pioneering ski-
industry technology. Lift capacity continued to
expand at Aspen and new ski areas were developed.
In 1957, Aspen Highlands opened, to be followed by
Buttermilk a year later. The significant addition of the
Snowmass ski area in 1967 firmly established Aspen
as an international skiing destination. By 1986, Aspen
installed the world’s longest, single-stage vertical
rise gondola—the Silver Queen. Aspen continues to
maintain its position as an international ski resort,
attracting the world’s top skiing competitors and
most celebrated ski events.
Skiing also changed the architectural character of
Aspen. Lodges were built in the chalet style familiar
to their European owners. To enhance the alpine
experience for tourists, landscaping trends attempted
to bring the mountain environment into town.
Spruce trees and other conifers were planted along
streetscapes and throughout the commercial and
residential districts.
Aspen’s Cultural Renaissance - The Aspen Idea
Investment capital began to flow into Aspen as
influential people such as Elizabeth and Walter
Paepcke promoted the town. The Paepckes were
Chicago industrialists with grand visions. Walter
Paepcke dreamed of a community “of peace with
opportunities for a man’s complete life...where he
can earn a living, profit by healthy, physical recreation,
with facilities at hand for his enjoyment of art, music
and education.” He created the Goethe Bicentennial
Convocation in 1949, which attracted the world’s
foremost artists, writers, musicians and celebrated
humanitarians. The success of this event led to
the creation of the Aspen Institute, Aspen Center
for Physics, Aspen Music Festival and School,
and numerous other world class conferences and
events enjoyed in Aspen today. The International
Design Conference, founded in 1950 left an indelible
impression upon the architectural characteristics
Lift One, 1950.
Aspen Institute, 1965.
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of Aspen and how the Aspen community promotes
innovative design. Examples of private residences
and civic structures influenced by the Modernist
movement can be found throughout the city.
Present Day Aspen - International Resort for the Mind and Body
Aspen lures people today with world-class
accommodations, outdoor recreation opportunities,
artistic venues and educational forums. Its setting,
unique architecture and sense of history provide a
backdrop whereby the Aspen community can provide
the best of both worlds— charm and natural beauty
with cosmopolitan entertainment and flare.
The Elks Building, 2015.
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Note: Dates indicated describe the approximate
period covered by a particular building style within
Aspen.
Architectural Styles in Aspen
The City of Aspen contains a wide variety of building types and architectural styles that reflect its evolution, many of which have historic significance.
This rich architectural heritage enhances the City and
contributes to its strong “sense of place.”
The following is a brief overview of the most frequently recognized styles found in Aspen. This survey of
building types and styles reflects changing building
technologies, tastes of the times, and the distinct
Aspen context.
Pioneer
Circa 1879-1893, Residential
These buildings were generally constructed of round
logs, hewn logs, or log slabs considered to be mill-
waste, and built as basic shelter for early Aspen settlers. Later examples copied this style. The log members were laid on alternating tiers, implementing
a variety of notching techniques for joinery. The
details of the log connections and the character of
the log cuts themselves are important features. The spaces between the logs were filled with “chinking” consisting of a mixture of animal hair, clay, straw and
other natural materials. The roofs were constructed of
readily available material, including canvas, wooden
shingles, and sheet metal. In Aspen, some of these log structures were later updated and covered with milled wooden siding and details.
Characteristics:
• Log construction.
• Hip or gable roof.
• Rough-sawn wood trim.
A Pioneer house at 205 S. Third, constructed in 1885, or earlier
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False-Front Store FrontCirca 1880-1893, Commercial
Relatively few examples of false-front buildings
survive. These structures are from the early settlement
phase when wood was the primary construction material. The front created a facade that made a building appear larger and taller than it actually
was, masking a gabled roofline. Cornice details and
kickplate elements below the storefront windows also
were created from wood.
Characteristics:
• Gable roof concealed behind false front.
• Recessed entry.
• Large glass display windows.
• Simple bracketed cornices.
• Painted wood lap siding.
• Kickplate below display window.
• Transom above display window.
• Wood doors and windows.
Carpenter Gothic
Circa 1880-1893, Residential
This style is characterized by wooden interpretations of Gothic masonry structures, with an emphasis upon verticality and picturesque composition. Jig-saw cut
trim elements were popular but straight lines and
simple geometric forms provided the framework for
more ornamental attachments. These ornamental details and the overall vertical form of this style are important features that should be preserved. All-
white color schemes were popular, with accent colors
only appearing on shutters.
Characteristics:
• Steeply pitched roof.
• Cross gable roof plan or side gable roof plan with central cross gable over the door.
• Clapboard siding.
• Decorative barge board along eaves of main gables and dormers.
• Two-over-two, double-hung sash windows.
• Bay windows and lancet windows.
• Elaborate porch railings, square posts, cut-out
boards.
False front structure at 310 E. Main, constructed in the 1890s.
A Carpenter Gothic house at 302 East Hopkins, constructed in 1883.
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Vernacular L-Type or “Miner’s
Cottage”
Circa 1880-1893, Residential
The term “vernacular” refers to building traditions
that reflect local taste, customs and materials. The
vernacular houses of Aspen are similar to those throughout other Colorado mining towns—these houses were designed for utilitarian purposes with
minimal attempts to copy a prescribed style. Typically,
decorative elements were applied to cottages with
steep roofs, wooden siding, vertical sash windows and front porches. Some homes received more ornament than others, often influenced by Queen Anne or
Gothic Revival designs, usually around windows and
doors and at porches and gable ends. In plan, these
cottages were L-type, gable end, or side gable. Often shed additions were added.
The L-type houses have two wings with intersecting
gable roofs that form a letter “L” in plan. Very often an
attached porch runs along the street-facing facade. Most of these houses are 1- story, but 1-1/2 and 2-story versions also exist. This is the most common
historic resource type remaining in Aspen.
Characteristics:
• Overall, simple building forms.
• 1-story, covered porch, usually at the intersection of the two wings.
• Projecting bay windows.
• Wood clapboard siding.
• Shingle roof.
• Two front doors, a social custom.
Side Gable
Circa 1880-1893, Residential
This house style has a ridgeline that runs parallel to
the street. Often a porch runs the width of the house. Details are similar to other gable cottage plans.
Characteristics:
• Full-width, one-story porch.
• Decorative elements focused on the porch area.
• Porch projects forward from the front wall plane.
• Painted wood lap siding.
• Wood trim around windows and doors.
A Vernacular L-type house at 205 S. Spring, constructed in 1887.
A side gable house at 117 N. Sixth, constructed in 1885.
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Gable-End
Circa 1880-1893, Residential
This house type has a simple, rectangular shape with
a gable roof with the ridge running perpendicular to the street. Most have a porch on the gable-end. Most are wood sided. Most are 1 - 1-1/2 story and a few
are 2-story.
Characteristics:
• Bay-windows .
• Full width or inset 1-story porch, with hip or gable roof.
• Decorative shingles in gable-end.
• Gable ornaments, including brackets and barge boards.
• Overall, modest character.
• Porch may project forward or be inset into the front wall plane.
• Two front doors, a social custom.
Italianate
Circa 1880-1893, Residential and Commercial
The Italianate style was introduced by Andrew Jackson
Downing in his 1850 publication, The Architecture of Country Houses. He extolled the virtues of the
Gothic Revival, but also offered the “villa,” a version
based on Italian country houses that veered more
toward classicism and did not have the religious
overtones of the Gothic Revival. Cornices with large brackets appeared on porches and bay windows. Flat,
ornamental arches capped most windows and doors.
Characteristics:
• Rectangular, square, with a side-passage plan, or cross-gable.
• Brick, wood clapboard and stucco.
• Double-hung, narrow windows, often with round arch heads.
• Window panes are either one-over-one or two-
over-two.
• Protruding sills.
• Ornate treatment of the eaves, including the use
of brackets, modillions and dentil courses.
• Low-pitched, hipped roof.
• Bay windows, often rectangular.
• Quoins, or decorative blocks, at corners.
• Metal cresting along roof ridges.
• Transom over entry, often curved.
An gable end house at 612 W. Main, constructed in 1888.
An Italianate house at 201 E. Hyman, constructed in 1883.
The Wheeler Opera House at 320 E. Hyman is an example of an
Italianate commercial structure, constructed in 1889.
• Ornate treatment of porch with turned columns,
posts and bargeboard ornament.
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Dutch Colonial Revival
Circa 1880-1893, Residential
The most distinguishing feature of this style is the
gambrel roof. The details, such as the window pattern, porches and materials are closely associated with the
Shingle and Queen Anne styles.
Characteristics:
• Gambrel roof; both side-passage and front-facing variations can be found.
• Single gable end.
• One story.
• Prominent front porch, with classically-detailed
porch supports and plain balustrades.
• Double-hung sash windows, with either single panes or multiple panes in the upper light.
• Lunette windows in the upper gable.
• Large, single pane windows with a fixed transom on the first story.
Queen Anne
Circa 1880-1893, ResidentialIn the United States, Queen Anne developed from the desire to establish a national style. This style includes
decorative wall surface patterns, framed in strap-
work, polychrome color schemes, and steeply pitched
rooflines. Typically, the buildings are 1 - 2-stories in height. Preserving the ornamental details and the original materials of this style are high priorities.
Characteristics:
• Irregular, asymmetrical massing.
• Forward extension of wall planes; towers and
triangular sections.
• Decorative shingles.
• Spindlework porch supports with lace-like
brackets.
• Windows with leaded or stained glass.
• Patterned window panes.
• Bay windows.
• Corbelled brick chimneys.
A Dutch Colonial Revival house at 611 West Main, constructed
in 1886.
A Queen Anne house at 128 E. Main, constructed circa 1893.
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Second EmpireCirca 1880-1893, Residential
The Second Empire refers to the reign of Louis
Napoleon, the grand-nephew of Napoleon Bonaparte,
who ruled France from 1852 to 1870. In both France and America, the Second Empire style coincided
with a period of prosperity and materialism, and was
associated with urbanity and a cosmopolitan society.
The style is characterized by its distinctive mansard
roof, often containing windows on the steep lower slope. The complex massing and arrangement of
towers is unified through decorative cornices similar
to those of the Italianate style.
Characteristics:
• Steeply pitched, mansard roof.
• Roof can be either straight or concave, and is interrupted by dormers.
• Complex massing forms .
• Brick, stucco or wood clapboard.
• Wrought-iron ornament, such as cresting on roof
or heavy, ornate fencing.
• Wide eaves, often with modillions.
• Corbelled chimney.
• Heavily molded cornices and window trim.
Industrial
Circa 1880-1893, Commercial, Public
The Industrial style represents an age when the
production of goods was an overriding goal. This style was sometimes employed for utilitarian public
buildings, and featured large, open interior spaces,
made possible by a heavy wood truss system.
Characteristics:
• Large rectangular forms.
• Masonry construction.
• Large interior spaces.
• Smaller, vertically proportioned windows.
• Masonry cornice supported on corbels.
A Second Empire house at 442 W. Bleeker, constructed in 1885.
Aspen City Hall, originally an Armory, at 130 South Galena, constructed in 1891.
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Victorian-Era Commercial BuildingCirca 1880-1893, Commercial
The commercial storefront of the late 19th and early
20th centuries is the most common type of building
found today in most historic commercial districts throughout the country. Usually one to four stories in height, these buildings are divided into two distinct
bands. The first floor is more commonly transparent,
so goods can be displayed, while the second story
has smaller windows and is usually reserved for a residential or office space. The majority of these buildings in Aspen were constructed between 1888
and 1893.
As this type evolved towards the turn-of-the century, so too did the amount of ornamentation and high-style influences. Cornice and midbelt moldings
became more prominent, more elaborate window
and door openings were used and much of the
facade was covered with varying degrees of applied ornamentation. Italianate details were popular. With the introduction of cast-iron, the weight of second and
third stories of these Victorian commercial structures
was carried over larger expanses of glass on the first
floor.
Characteristics:
• Cast-iron supported or wood post storefronts.
• Large display windows on the first-floor usually framed in wood, but sometimes metal.
• Transom lights above display windows.
• Kickplate below display windows.
• Recessed entry.
• Wood double doors.
• Tall second story windows with wood frames.
• Decorative cornice at top.
• Masonry walls.
• Varying degrees of ornamentation.
• Corner entry.
A Victorian era commercial building at 419 E. Hyman, constructed in 1889.
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The Collins Block, located at 204 South Mill Street, constructed in 1891-1893.
Neo-Classical
Circa 1880-1893, Commercial
The Neoclassical movement is an American phenomenon that began with the 1893 Colombian Exposition in Chicago. Greek Revival precedents
were most commonly used, but with more variety
in composition and detail. In Aspen, popular
neoclassical details were simple Doric columns, triangular pediments and large cornices with rows of dentil moldings. Other classical orders, including
Corinthian and Ionic, sometimes are used as well.
These appeared on both residential and commercial
buildings.
Characteristics:
• Free-standing columns, usually Doric order.
• Cornice with dentil moldings.
• Triangular pediment, sometimes supported on
classical columns.
Romanesque RevivalCirca 1880-1893, Commercial and Public
Promoted by the prominent Boston architect,
Henry Hobson Richardson, the Romanesque, or
Richardsonian Romanesque style was commonly used for large public buildings during the 1880s—
following suit with Richardson’s Trinity Church in
Boston. Romanesque structures were always of
masonry construction. Rounded stone arches were
typical details, as were carved stone columns with Corinthian capitals, which feature an acanthus leaf
pattern. Attached stone pilasters, or piers also were
common.
Characteristics:
• Asymmetrical facades.
• Masonry walls, usually with rough-faced, squared stonework.
• Most have towers with conical roofs.
• Round-topped arches over windows, porch supports, or entrance.
• Deeply recessed openings.
• Decorative colonnettes around windows.
• Decorative floral patterns on column capitals and
wall surfaces.
• Wood frames for doors and windows.
The Aspen Community Church, an example of the Romanesque Revival style, constructed at 200 E. Bleeker in 1890.
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Rustic architecture at 300 W. Main, constructed in 1944.
Rustic Architecture
Circa 1900-present, Residential, Commercial, Public
Popularized by the designs of the National Park Service for its institutional buildings, these structures were designed to blend with the environment and
were constructed of native building materials. An
emphasis upon simplicity, hand craftsmanship and
the natural environment made this a popular style for vacation homes, hunting lodges, dude ranches and tourist facilities. In Aspen, these appear similar
to Pioneer Houses, but usually include larger timber
elements and emphasize more craftsmanship in
details.
Characteristics:
• Hand built out of locally available materials, using
limited tools.
• Single story or 1 1/2 story.
• Low pitched gable roof.
• Simple rectangular footprint, with smaller addictive elements.
• Small porch or entry feature.
• True log construction with overlapping log ends, coped and stacked, with chinking to infill irregularities between the logs.
• Rough sawn board and batten siding.
• Stone at the base or in the fireplace and chimney.
• Small window openings, spare and usually
horizontally proportioned with wood trim.
• Minimal detail and decoration.
The Bell Tower, originally built as a WPA project in 1930 and later substantially reconstructed, is located at Paepke Park and is an example of Rustic architecture.
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International style residence at 301 Lake, constructed in 1972.
Bauhaus/International Style
Circa 1928-1960, Residential, Commercial, Public
The use of the words “international style” refers to the
title of the exhibit promoted by the Museum of Modern Art in New York City in 1931 which presented the work of forty architects from fifteen countries. It has
become synonymous with modern styles and post-
World War II architecture that emphasized simple
rectilinear forms that expressed internal functions. New materials and construction techniques also were used. In Aspen, some variations emphasized
techniques and materials from elsewhere, while
others adapted the International Style to local
materials and building methods. Several of the International Style buildings in Aspen were designed by Herbert Bayer, a noted artist and designer from the
Bauhaus school who had a significant influence on
postwar architectural development in Aspen.
Characteristics:
• Simple geometric forms, both in plan and
elevation.
• Flat roofs, usually single story.
• Proportions are long and low, horizontal lines are
emphasized.
• Asymmetrical arrangement of elements.
• Windows are treated as slots in the wall surface,
either vertically or horizontally, or glazing appears
as a curtain wall.
• Detailing is reduced to the composition of elements rather than decorative effects.
• Materials are generally manufactured and
standardized, surfaces are smooth, with minimal
or no detail at window jambs, grade, and roof
edge.
• Entry is usually marked by a void in the wall, a cantilevered screen element, or other architectural clue that directs one into the composition.
• Buildings are connected to nature through the use
of courtyards, wall elements that extend into the
landscape, and areas of glazing that allow a visual
connection to the natural environment.
• Schemes are monochromatic, using neutral colors. Primary colors are used for accents.
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Chalet
Circa 1945-1960s, Residential and Commercial
This style is reminiscent of alpine architecture in Europe and was popular for early American ski resort towns, including Aspen. Large balconies and shallow
roofs with wide eaves are identifying features. Wood
trim often reflected a jig-saw cutout design, especially
on balustrades and gable ornaments. Stucco was often combined with wood siding. Occasionally, mountain scenes were painted on the stucco. The
style primarily used for hotels and residences.
Characteristics:
• Large, singular roof form, generally low in slope.
• Deep overhangs with the structure of the roof expressed on the underside.
• Eaves and rakes decorated with cutouts and
fretwork bargeboards.
• Continuous porch or balcony running the length of the primary side.
• Decorative elements such as balustrades with
cut out shapes (hearts, edelweiss, snowflakes,
nature theme).
• Rectangular footprint.
• Stucco ground floor with minimal openings and
wood lintels.
• Slider and casement windows, horizontally proportioned and used sparingly.
• Decorative shutters or flowerboxes.
• Colors are restricted to white for the stucco base and dark brown wood walls, eaves, and balustrades. Bright colors are used
sparingly for accents and decorative elements.
Mountain Chalet Style at 312 W. Hyman, constructed in 1956.
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A Modern Chalet Style home at 120 Red Mountain Road,
constructed in 1962.
A Pan Abode located at 630 W. Main, constructed 1965.
Log Kit/Pan Abode Buildings
Circa 1950s to 1970, Residential and Commercial
Pan Abode is a brand name for log kit houses
available beginning in 1952. These buildings were also manufactured by other companies as early as 1948.
The logs were milled, tongue and groove and came
pre-cut and notched for easy assembly. The system
was popular in Aspen for ski lodges and modest
homes. They were quick to build (a plus in Aspen’s limited construction season) and inexpensive.
Characteristics:
• Tongue and groove cedar log construction.
• Overlapping notches at corners.
• Wood framed, multi-light picture window.
• Low-pitched roof, usually gabled but occasionally
shed.
• Deep overhanging eaves.
• Recessed entrance with rounded or squared
corners.
• Natural, stained wood.
• Simple, rectilinear footprint usually one story.
Modern Chalet
Circa 1950s-1960s, Residential A distinctive postwar housing type in Aspen is
locally termed a Modern Chalet. With its moderately
pitched gable roof oriented to the front, it recalls
traditional chalets associated with ski country, but
in its expansive glass and minimal decoration, it also seems classically modernist. For the most part, the
sizable window walls on these buildings are oriented
to Aspen Mountain.
Characteristics:
• Rectilinear footprint, classic chalet orientation
with gable end to the street and/or mountain view.
• Broad gabled facade organized in rectilinear solid or glass panels, generally in a tripartite organization.
• Low to moderate pitched roof, often based on a
3:12 ratio.
• Roof eave comes down to a low plate height at the upper level.
• Deep eave overhang, may have exposed roof
beams.
• Glass in gable ends extending to the eaves.
• Large central glazed areas is flanked by brick or
stone piers.
• Minimal decoration.
• Balcony on front facade.
• Entry door recessed or on side elevation.
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This Wrightian style building is located at 720 E. Hyman, and
was constructed in 1976.
Wrightian/Organic
Circa 1945-Early 1970s, Residential, Commercial,
PublicThe Wrightian style was developed by the architect Frank Lloyd Wright. Several buildings in Aspen were
designed by architects who studied under Frank
Lloyd Wright.
Characteristics:
• Low horizontal proportions, flat or low pitched hip
roofs.
• Deep roof overhangs that create broad shadow lines across the facade, glazing is usually concentrated in these areas.
• Materials are usually natural and hand-worked,
such as rough-sawn wood timbers and brick,
brick is generally used as a base material, wall
infill, or in an anchoring fireplace element.
• Wood structural systems tend more toward heavy timber or post-and-beam rather than typical stud framing.
• Structural members and construction methods
are usually expressed in the building.
• Roof structure is often expressed below the roof sheathing.
• Glass is used as an infill material which expresses
a void or a structural system, or it is used to
accentuate the surface of a wall through pattern
or repetition.
• No trim isolating the glazing from the wall plane, window openings are trimmed out to match adjacent structural members in a wood context, brick openings tend to be deeply set with no trim other than the brick return.
• Structures are related to the environment through
battered foundation walls, cantilevered floors
and/or porches, clear areas of glazing that create
visual connections between inside and outside,
and the effect of the roof plane hovering over the
ground.
• Decoration stems from the detailing of the primary materials and the construction technique, no applied decorative elements are used.
• Colors are usually related to the natural colors
of materials (natural brick, dark stained wood,
white stucco), accent colors are used minimally
and mainly to accentuate horizontal lines of the
structure.
This Wrightian residence is located at 835 W. Main, and was constructed in 1947.
Design guidelines:context
36 • City of Aspen • Historic Preservation Design Guidelines
cHapter 1: sIte plannIng & landscape desIgn
c HA pter 1: s ite p lA nning & lAndsc Ape design
Background
The character of a historic structure is greatly
influenced by the surrounding framework of streets
and public spaces, the physical characteristics of the specific site, and the way in which the historic resource is situated on the lot. It is important to analyze the
context of a property before developing a strategy for
treatment and/or alteration. Analysis should begin
with a study of the overall development pattern of the neighborhood or district. The defining elements of the site need to be identified, and the placement
of the historic resource reviewed for its consistency
or deviation from the context of the neighborhood or
district. How structures occupy their site, in terms of alignment, orientation, and spacing creates much of the context of a neighborhood. This context, along
with right-of-way treatment, sidewalks, pedestrian
and vehicular access, fences, natural features, alley
relationship, landscaping and other site features all combine to define Aspen’s historic character.
In the original Aspen townsite, the consistency of site
development reflects a specific and identifiable time
period. Some neighborhoods located outside of the formal townsite grid were planned much later and reflect a less formal pattern of development. HPC’s
intent is that any project acknowledges the history
of the surrounding area and uses the strongest and
most common features as a framework for proposed development.
In addition to architectural landmarks, Aspen has
significant cultural and historic landscapes that
represent early development patterns. Included in these private and public landscapes are: cemeteries, parks, campuses, public art, alleys, street right of
ways, waterways, and similar public features. These
landscapes are integral to the historic pattern of the
community and should be preserved.
How to StartWhen beginning a project, the applicant should follow
these steps:
• Document the existing site conditions, including existing plant material, natural features, historic artifacts, and configuration of the site.
• Note neighborhood development patterns
including existing and historic street and alley
conditions, setbacks, and alley development.
• Determine whether the existing context supports or detracts from the historic resource and incorporate findings into the design process.
• Retain historic site features and incorporate
important existing and historic development
patterns into the site.
Policy: Historic landscapes, landscape elements,
and landscape patterns should be preserved. Additions and/or changes to the landscape should be compatible with the associated
historic resource and the historic context of the
neighborhood or district in which the project is
located.
Note: A permit is required for modifications within the publically owned right-of-way,
including planting strips, sidewalks and irrigation
ditches. This permit is issued by the Engineering
Department in consultation with other City agencies. In general, the right-of-way within a given neighborhood should have a consistent
design character. Right-of-ways should not be
altered in a manner that makes them appear to
be an extension of the adjacent private property. The Municipal Code includes detailed information about the City’s regulations affecting trees on
public and private property.
City of Aspen • Historic Preservation Design Guidelines • 37
cHapter 1: sIte plannIng & landscape desIgn
Neighborhood and District Patterns
Maintaining significant development patterns in
Aspen’s neighborhoods is important. Intentionally siting buildings to highlight historic development patterns reflects the evolution of Aspen’s development.
Resources which are helpful in studying development
patterns include Victorian era fire insurance maps
(Sanborn Maps), the 1896 Willit’s Map, the 1893 Bird’s Eye View of town, subdivision maps, aerial photography, and GIS mapping. These are found
in the Community Development Department or the
Historical Society. GIS maps can be found online at
aspenpitkin.com and Sanborn maps are online at www.cudl.colorado.edu.
Within the historic townsite, the road layout is a grid.
The neighborhoods and structures were organized in
an orthogonal pattern, regardless of topography, with building façades parallel to the street. Main Street is the widest boulevard dividing Aspen north and south.
Garmisch Street, formerly Center Street, divides the
townsite east and west. In the west part of town,
historic irrigation ditches are found alongside many streets.
Within the original townsite, some Post-World War II
buildings were set at an angle on the lot as a reflection
of a different design philosophy – for example, many chalets are oriented to face Aspen Mountain. In later subdivisions, the grid is generally absent: streets are
curvilinear and lots are irregular. It may require careful
study to discern consistent or original development
patterns remaining in these areas due to intense redevelopment. Consult with a landscape architect early in the conceptual process.
1.1 All projects shall respect the historic development pattern or context of the block,
neighborhood or district.
• Building footprint and location should reinforce the traditional patterns of the neighborhood.
• Allow for some porosity on a site. In a residential
project, setback to setback development is
typically uncharacteristic of the historic context.
Do not design a project which leaves no useful
open space visible from the street.
Streets, Alleys, & Ditches
Alleys are an important feature of the historic townsite
and have traditionally been used for utilitarian
functions. Today, this is an appropriate location for cars, storage, service areas, and in some cases, secondary residential units or small businesses.
Historic photograph of Aspen’s west end neighborhood.
This historic structure is easily viewed from the street and is surrounded by a large open yard.
38 • City of Aspen • Historic Preservation Design Guidelines
Though alterations to streets, alleys, and ditches are
not generally within the HPC’s purview, development
which removes a platted street or alley, or overplants a
ditch, is discouraged. Ditches should be simple water
channels planted with sod banks that do not include
flower beds, hardscapes, or bridges that change the
simplicity of the feature.
1.2 Preserve the system and character of
historic streets, alleys, and ditches.
When HPC input is requested, the following bullet
points may be applicable.
• Retain and preserve the variety and character found in historic alleys, including retaining historic ancillary buildings or constructing new ones.
• Retain and preserve the simple character of
historic ditches. Do not plant flowers or add
landscape.
• Abandoning or re-routing a street in a historic area is generally discouraged.
• Consider the value of unpaved alleys in residential
areas.
• Opening a platted right of way which was abandoned or never graded may be encouraged on a case by case basis.
Driveways & Parking
Typical transportation in the 19th Century included
horses and wagons that were housed in the alleys or
on side streets. As cars became more common after
World War II, some development was automobile oriented and included driveways accessed from
the primary street. Many Post-War residences
incorporated this auto-centric trend with carports
and these examples should be preserved. Generally
though, in an effort to minimize the visual impact of vehicles, and meet current pedestrian safety goals,
vehicular access should now be accommodated at
the alley where possible.
1.3 Remove driveways or parking areas
accessed directly from the street if they were
not part of the original development of the site.
• Do not introduce new curb cuts on streets.
• Non-historic driveways accessed from the street should be removed if they can be relocated to the alley.
Where a historic driveway is accessed from a street, minimize
the visual impacts by limiting paving.
This Herbert Bayer designed residence, built in 1963, features a streetfacing carport.
cHapter 1: sIte plannIng & landscape desIgn
A ditch in the West End neighborhood.
City of Aspen • Historic Preservation Design Guidelines • 39
cHapter 1: sIte plannIng & landscape desIgn
1.4 Design a new driveway or improve an
existing driveway in a manner that minimizes its visual impact.
• If an alley exists at the site, the new driveway must
be located off it.
• Tracks, gravel, light grey concrete with minimal seams, or similar materials are appropriate for driveways on Aspen Victorian properties.
Yards, Walkways, and Patios
Key landscape features include setbacks, public
space and private space, the arrangement of trees,
shrubbery and hedges, species of vegetation, natural features, walkways and patios, site furnishings, site lighting, fences, vehicular and pedestrian access, and
walls.
Aspen Victorian PropertiesCommercial zone districts allow lot line to lot line
development with minimal setbacks if any. As such,
most commercial properties do not contain on-site
walkways and patios. This alignment of structures contributes to a sense of visual continuity and vitality for 19th Century resources in the Commercial Core
Historic District.
In 19th century residential settings, a “hierarchy” of open space exists along the street. Access from the public street to private residences was commonly
achieved with a modest walkway. These walkways
were typically narrow in width, made of simple,
indigenous materials, and ran perpendicular from the street to the entry or porch. Typical residential neighborhoods located in the original townsite had a
relatively consistent front yard setback. Open lawns
were common. Side and rear yard setback patterns
created distinctive patterns and contributed to the overall open space and rhythm of a neighborhood. Rear yard setbacks have traditionally been fairly
minimal
AspenModern PropertiesPost-war development oftentimes reflects a
deliberate effort to bring the outside indoors or to
contrast a natural, wild landscape with a minimalist,
stark building. Many Post-War buildings incorporated patios, built in planters, deep overhanging eaves, wide steps, and other types of design elements to define the
landscape as part of the architecture of the building.
These features are integral to the design tenets of
Post-War architecture and should be preserved.
An elevated front patio was part of the original design for
this AspenModern landmark in the Commercial Core Historic
District.
40 • City of Aspen • Historic Preservation Design Guidelines
1.5 Maintain the historic hierarchy of spaces.
• Reflect the established progression of public to
private spaces from the public sidewalk to a semi-
public walkway, to a semi private entry feature, to
private spaces.
1.6 Provide a simple walkway running
perpendicular from the street to the front entry on residential projects.
• Meandering walkways are not allowed, except where it is needed to avoid a tree or is typical of the period of significance.
• Use paving materials that are similar to those
used historically for the building style and install
them in the manner that they would have been
used historically. For example on an Aspen
Victorian landmark set flagstone pavers in sand,
rather than in concrete. Light grey concrete, brick
or red sandstone are appropriate private walkway
materials for most landmarks.
• The width of a new entry sidewalk should generally be three feet or less for residential properties. A wider sidewalk may be appropriate for an AspenModern property.
1.7 Provide positive open space within a
project site.
• Ensure that open space on site is meaningful and
consolidated into a few large spaces rather than
many small unusable areas.
• Open space should be designed to support and complement the historic building.
1.8 Consider stormwater quality needs early in
the design process.
• When included in the initial planning for a project,
stormwater quality facilities can be better
integrated into the proposal. All landscape plans
presented for HPC review must include at least
a preliminary representation of the stormwater
design. A more detailed design must be reviewed
and approved by Planning and Engineering prior
to building permit submittal.
• Site designs and stormwater management should provide positive drainage away from the historic landmark, preserve the use of natural drainage and treatment systems of the site, reduce the generation of additional stormwater runoff, and increase infiltration into the ground. Stormwater facilities and conveyances located in front of a landmark should have minimal visual impact
The historic hierarchy of spaces from public to semi-public to private.
A flagstone walkway suits the character of this 1956 Pan Abode home.
cHapter 1: sIte plannIng & landscape desIgn
A Victorian era walkway in Aspen.
City of Aspen • Historic Preservation Design Guidelines • 41
when viewed from the public right of way.
• Refer to City Engineering for additional guidance and requirements.
1.9 Landscape development on AspenModern
landmarks shall be addressed on a case by
case basis.
1.10 Built-in furnishings, such as water
features, fire pits, grills, and hot tubs, that
could interfere with or block views of historic
structures are inappropriate.
• Site furnishings that are added to the historic property should not be intrusive or degrade the integrity of the neighborhood patterns, site, or existing historic landscape.
• Consolidating and screening these elements is
preferred.
Softscape Features & Plants
While most historic plant materials on private property
have been replaced over time, some specimens do survive, particularly in residential settings. 19th
Century photographs indicate that front yards were
typically mowed grass and a mix of cottonwood trees,
lilacs, sweet peas, flowering vines, and yellow shrub-
roses. Back yards were often dirt to accomodate animals and livestock.
In later periods, yard designs evolved - a Rustic Style
building may have a more natural, less manicured
character with informal planting of native trees, shrubs and flowers and prominent placement of spruces
near the entry. Always refer to historic photos of the
site when available to guide landscape design.
While HPC may not have the opportunity to review landscape alterations that do not occur as part of a
development project, the following guidelines apply to
all activity on historic sites and will be enforced when
necessary. Permits are required for site disturbances
great than 200 square feet. Refer to the Engineering page on the city website aspenpitkin.com for updated
information.
1.11 Preserve and maintain historically significant landscaping on site, particularly
landmark trees and shrubs.
• Retaining historic planting beds and landscape features is encouraged.
• Protect historically significant vegetation during
construction to avoid damage. Removal of
A simple, albeit contemporary, walkway may be acceptable for
a large, ornate Victorian.
Historic cottonwood trees surround this corner lot.
cHapter 1: sIte plannIng & landscape desIgn
42 • City of Aspen • Historic Preservation Design Guidelines
damaged, aged, or diseased trees must be
approved by the Parks Department.
• If a significant tree must be removed, replace it with the same or similar species in coordination with the Parks Department.
• The removal of non-historic planting schemes is
encouraged.
• Consider restoring the original landscape if information is available, including original plant materials.
1.12 Provide an appropriate context for historic
structures. See diagram.
• Simplicity and restraint are required. Do not overplant a site, or install a landscape which is overtextured or overly complex in relationship to the historic resource, particularly in Zone A. In Zone A, new planting shall be species that were used historically or species of similar attributes.
• In areas immediately adjacent to the landmark,
Zone A and Zone B, plants up 42” in height, sod,
and low shrubs are often appropriate.
• Contemporary planting, walls and other features are not appropriate in Zone A. A more contemporary landscape may surround new development or be located in the rear of the property, in Zone C.
• Do not cover areas which were historically
unpaved with hard surfaces, except for a limited
patio where appropriate.
• Where residential structures are being adapted to commercial use, proposals to alter the landscape will be considered on a case-by-case basis. The residential nature of the building must be honored.
• In the case of a historic landmark lot split, careful
consideration should be given so as not to over
plant either property, or remove all evidence of
the landscape characteristics from before the
property was divided.
• Contemporary landscapes that highlight an AspenModern architectural style are encouraged.
1.13 Additions of plant material to the
landscape that could interfere with or block views of historic structures are inappropriate.
• Low plantings and ground covers are preferred.
• Do not place trees, shrubs, or hedgerows in
locations that will obscure, damage, or block
significant architectural features or views to the
building. Hedgerows are not allowed as fences.
A small conifer planted in front of a historic structure can grow beyond expectations and completely block the building.
• Consider mature canopy size when planting new trees adjacent to historic resources. Planting trees too close to a landmark may result in building deteriorate or blocked views and is inappropriate.
• Climbing vines can damage historic structures and
are not allowed.
cHapter 1: sIte plannIng & landscape desIgn
City of Aspen • Historic Preservation Design Guidelines • 43
cHapter1: sIte plannIng & landscape desIgn
Zone A
most signicant
Zone B
moderately signicant
Zone C
unrestricted
Historic Resource
Non-historic
addition
NOTE: Zones of signi -
cance are approximate and
deviations may be deemed
appropriate by the HPC.
Zone C may include
secondary historic resourc-
es such as a historic shed
or outbuilding. When this
occurs, the allowances in
Zone B shall apply to the
areas around the historic
shed or outbuilding.
FRONT
REAR
Historic
Resource
Non-historic Addition INTERIOR LOT
44 • City of Aspen • Historic Preservation Design Guidelines
cHapter 1: sIte plannIng and landscape desIgn
Zone A
most signicant
Zone B
moderately signicant
Zone C
unrestricted
Historic Resource
Non-historic
addition
NOTE: Zones of signi -
cance are approximate and
deviations may be deemed
appropriate by the HPC.
Zone C may include
secondary historic resourc-
es such as a historic shed
or outbuilding. When this
occurs, the allowances in
Zone B shall apply to the
areas around the historic
shed or outbuilding.
STREET
ALLEY
Historic
Resource
Non-historic Addition
STREET
City of Aspen • Historic Preservation Design Guidelines • 45
Site Lighting
Traditionally, outdoor lighting on 19th century sites was minimal or non-existent. While electricity was
available in Aspen in the late 1880s, based on available
historic photographs, exterior lights, including porch
lights, were not commonly found. To maintain historic
character, all outdoor lighting must be minimized.
Landscape lighting on AspenModern properties
varies based on architectural style and time period of
development.
For additional information, see the City’s Lighting Standards.
1.14 Minimize the visual impacts of landscape lighting.
• Landscape and pathway lighting is not permitted in Zone A (refer to diagram) on Aspen Victorian properties unless an exception is approved by HPC based on safety considerations.
• Landscape, driveway, and pathway lighting on
AspenModern properties is addressed on a case-
by-case basis.
• Landscape light fixtures should be carefully selected so that they are compatible with the building, yet recognizable as a product of their own time.
• Driveway lighting is not permitted on Aspen
Victorian properties.
• Landscape uplighting is not allowed.
FencesOriginally, wood picket fences were commonly used to define front yards on Aspen Victorian properties.
These fences provided a subtle delineation of private
yard versus public right-of-way and were low in height,
transparent in design, and did not create walled off private areas. The fence’s vertical slats were set apart with spaces between, and the overall height of the
fence was approximately three feet. Many properties
traditionally had open lawns with no fencing.
Some Post-WWII properties may have original fences that provide less transparency than those used in the
19th century, or have other unique characteristics.
Fencing on these properties will be reviewed on a
case-by-case basis.
1.15 Preserve original fences.
• Fences which are considered part of the historic
significance of a site should not be moved,
Landscape lighting that suits this AspenModern home.
A picket fence is an appropriate choice for a Victorian era
home.
cHapter 1: sIte plannIng & landscape desIgn
46 • City of Aspen • Historic Preservation Design Guidelines
removed, or inappropriately altered.
• Replace only those portions of a historic fence that are deteriorated beyond repair.
• Replacement elements must match the existing.
1.16 When possible, replicate a missing historic
fence based on photographic evidence.
1.17 No fence in the front yard is often the
most appropriate solution.
• Reserve fences for back yards and behind street facing façades, as the best way to preserve the character of a property.
1.18 When building an entirely new fence, use
materials that are appropriate to the building
type and style.
• The new fence should use materials that were used on similar properties during the period of significance.
• A wood fence is the appropriate solution in most
locations.
• Ornate fences, including wrought iron, may create a false history are not appropriate for Aspen Victorian landmarks unless there is evidence that a decorative fence historically existed on the site.
• A modest wire fence was common locally in the
early 1900s and is appropriate for Aspen Victorian
properties. This fence type has many desirable
characteristics including transparency, a low
height, and a simple design. When this material is
used, posts should be simply detailed and not
oversized.
1.19 A new fence should have a transparent
quality, allowing views into the yard from the
street.
• A fence that defines a front yard must be low in
height and transparent in nature.
• For a picket fence, spacing between the pickets must be a minimum of 1/2 the width of the picket.
• For Post-WWII properties where a more solid type
of fence may be historically appropriate, proposals
will be reviewed on a case-by-case basis.
• Fence columns or piers should be proportional to the fence segment.
1.20 Any fence taller than 42” should be
designed so that it avoids blocking public views
of important features of a designated building.
This is one of the last remaining original Victorian fences in Aspen.
A historic wire fence ;located on Cooper Ave.
A privacy fence that reflects a traditional picket fence style.
cHapter 1: sIte plannIng & landscape desIgn
A historic photograph showing both a simple wire fence and a
taller and more opaque privacy fence.
City of Aspen • Historic Preservation Design Guidelines • 47
removed, or inappropriately altered.
• Replace only those portions of a historic fence that are deteriorated beyond repair.
• Replacement elements must match the existing.
1.16 When possible, replicate a missing historic
fence based on photographic evidence.
1.17 No fence in the front yard is often the
most appropriate solution.
• Reserve fences for back yards and behind street facing façades, as the best way to preserve the character of a property.
1.18 When building an entirely new fence, use
materials that are appropriate to the building
type and style.
• The new fence should use materials that were used on similar properties during the period of significance.
• A wood fence is the appropriate solution in most
locations.
• Ornate fences, including wrought iron, may create a false history are not appropriate for Aspen Victorian landmarks unless there is evidence that a decorative fence historically existed on the site.
• A modest wire fence was common locally in the
early 1900s and is appropriate for Aspen Victorian
properties. This fence type has many desirable
characteristics including transparency, a low
height, and a simple design. When this material is
used, posts should be simply detailed and not
oversized.
1.19 A new fence should have a transparent
quality, allowing views into the yard from the
street.
• A fence that defines a front yard must be low in
height and transparent in nature.
• For a picket fence, spacing between the pickets must be a minimum of 1/2 the width of the picket.
• For Post-WWII properties where a more solid type
of fence may be historically appropriate, proposals
will be reviewed on a case-by-case basis.
• Fence columns or piers should be proportional to the fence segment.
1.20 Any fence taller than 42” should be
designed so that it avoids blocking public views
of important features of a designated building.
This is one of the last remaining original Victorian fences in Aspen.
A historic wire fence ;located on Cooper Ave.
A privacy fence that reflects a traditional picket fence style.
• A privacy fence should incorporate transparent
elements to minimize the possible visual impacts.
Consider staggering the fence boards on either
side of the fence rail. This will give the appearance
of a solid plank fence when seen head on. Also
consider using lattice, or other transparent
detailing on the upper portions of the fence.
• A privacy fence should allow the building corners and any important architectural features that are visible from the street to continue to be viewed.
• All hedgerows (trees, shrub bushes, etc.) are
prohibited in Zones A and B.
Retaining WallsHistorically stone retaining walls were sometimes
used on steep slopes. Some of these walls survive and
are important character-defining features. Whenever
feasible they should be preserved. The addition of retaining walls on flat sites or in locations where they were not seen historically should be avoided.
1.21 Preserve original retaining walls
• Replace only those portions that are deteriorated
beyond repair. Any replacement materials should
match the original in color, texture, size and finish.
• Painting or covering a historic masonry retaining
wall or covering is not allowed.
• Increasing the height of a retaining wall is
inappropriate.
1.22 When a new retaining wall is necessary,
its height and visibility should be minimized.
• All wall materials, including veneer and mortar, will be reviewed on a case by case basis and should be compatible with the palette used on the historic structure.
1.23 Re-grading the site in a manner that changes historic grade is generally not allowed
and will be reviewed on a case by case basis.
A restored historic retaining wall located at 320 W. Main Street.
cHapter 1: sIte plannIng & landscape desIgn
48 • City of Aspen • Historic Preservation Design Guidelines
cHapter 1: sIte plannIng & landscape desIgn
Cultural and Designed Landscapes
In addition to architectural landmarks, Aspen has historical landscapes. Historic landscapes are just
as important to preservation goals as buildings. All
alterations to cultural and designed landscapes
are considered on a case-by-case basis. Some
architectural landmarks include designed landscapes and hardscapes that blend the building into the
surrounding environment. These features are integral
to the preservation of the historic site.
1.24 Preserve historically significant
landscapes with few or no alterations.
• An analysis of the historic landscape and an assessment of the current condition of the landscape should be done before the beginning of any project.
• The key features of the historic landscape and its
overall design intent must be preserved.
1.25 New development on these sites should
respect the historic design of the landscape and its built features.
• Do not add features that damage the integrity of the historic landscape.
• Maintain the existing pattern of setbacks and
siting of structures.
• Maintain the historic relationship of the built landscape to natural features on the site.
• All additions to these landscapes must be clearly
identifiable as recent work.
• New artwork must be subordinate to the designed landscape in terms of placement, height, material, and overall appearance. Place new art away from significant landscape features.
• Avoid installing utility trenches in cultural
landscapes if possible.
1.26 Preserve the historic circulation system.
• Minimize the impact of new vehicular circulation.
• Minimize the visual impact of new parking.
• Maintain the separation of pedestrian and vehicle
which occurred historically.
Red Butte Cemetery, one of the three historic cemeteries in
Aspen.
Herbert Bayer’s 1955 Marble Garden at the Aspen Meadows.
City of Aspen • Historic Preservation Design Guidelines • 49
cHapter 1: sIte plannIng & landscape desIgn
1.27 Preserve and maintain significant
landscaping on site.
• Protect established vegetation during any construction.
• If any tree or shrub needs to be removed replace it
with the same or similar species.
• New planting should be of a species used historically or a similar species.
• Maintain and preserve any gardens and/or
ornamental planting on the site.
• Maintain and preserve any historic landscape elements.
In 1976, several downtown streets were redesigned as pedestrians malls.
Design g uidelines:reHAbilitAtion
52 • City of Aspen • Historic Preservation Design Guidelines
cHapter 2: BuIldIng MaterIals
This chapter addresses the treatment of primary historic building materials—those that compose the
dominant exterior surfaces of historic buildings. The
treatment of materials used for architectural trim is
addressed in a separate chapter.
In Aspen, wood siding and masonry have been the
typical primary building materials for both Aspen
Victorian and AspenModern landmarks. For Aspen
Victorian properties, horizontal clapboard is the most common material for residences. Most downtown buildings are brick or stone. AspenModern often
used stucco, concrete block and brick. In each case,
the distinct characteristics of the primary building
material, including the scale of the material unit, its texture and finish, are key features that contribute to the historic character of a building.
The best way to preserve historic building materials is
through well-planned maintenance. It is important to inspect a historic building regularly.
Horizontal building surfaces such as chimneys, caps,
sills, railings, and parapet copings are likely to show
the most wear because they are more exposed and may retain water for longer periods of time.
When deterioration occurs, repairing the material
rather than replacing it is preferred. It is important that
the extent of replacement materials be minimized, because the original materials contribute to the authenticity of the property as a historic resource. Even
when the replacement material exactly matches that
of the original, the integrity of a historic building is to
some degree compromised when extensive amounts are removed. This is because the original material exhibits a record of the labor and craftsmanship of
an earlier time and this is lost when materials are
replaced.
It is also important to recognize that all materials weather over time and that an aged finish, or patina
does not represent an inferior material, but simply
reflects the longevity of the building. Preserving original materials that show signs of wear is therefore
preferred to replacement.
AspenModern properties which exhibit deterioration
may require more substantial material replacement in order to preserve the original design intent. For
example, CMU block that has been damaged over
time may need to be entirely replaced in order to
preserve the monochrome coloring or crisp edges
indicative of the style. Approval of replacement materials on AspenModern properties is handled on
a case by case basis.
Treatment of Materials
2.1 Preserve original building materials.
• Do not remove siding that is in good condition or that can be repaired in place.
• Masonry features that define the overall historic
character, such as walls, cornices, pediments,
steps and foundations, should be preserved.
• Avoid rebuilding a major portion of an exterior wall that could be repaired in place. Reconstruction may result in a building which no longer retains its historic integrity.
• Original AspenModern materials may be
replaced in kind if it has been determined that
the weathering detracts from the original design
intent or philosophy.
cHApter 2: building MAteriAls
Policy: Historic building materials should be
preserved in place whenever feasible. When the
material is damaged, then limited replacement that matches the original in appearance should be considered. Primary historic building
materials should never be covered or subjected
to harsh cleaning treatments.
City of Aspen • Historic Preservation Design Guidelines • 53
cHapter 2: BuIldIng MaterIals
2.2 The finish of materials should be as it
would have existed historically.
• Masonry naturally has a water-protective layer to
protect it from the elements. Brick or stone that
was not historically painted shall not be painted.
• If masonry that was not painted historically was given a coat of paint at some more recent time, consider removing it, using appropriate methods.
• Wood should be painted, stained or natural, as
appropriate to the style and history of the building.
Replacement of Materials
2.3 Match the original material in composition,
scale and finish when replacing materials on primary surfaces.
• If the original material is wood clapboard for example, then the replacement material must be wood as well. It should match the original in size, and the amount of exposed lap and finish.
• Replace only the amount required. If a few boards
are damaged beyond repair, then only those should
be replaced, not the entire wall. For AspenModern
buildings, sometimes the replacement of a larger
area is required to preserve the integrity of the
design intent.
2.4 Do not use synthetic materials as
replacements for original building materials.
• Original building materials such as wood siding
and brick should not be replaced with synthetic
materials.
Covering Materials
2.5 Covering original building materials with new materials is inappropriate.
• Regardless of their character, new materials
obscure the original, historically significant
material.
• Any material that covers historic materials may also trap moisture between the two layers. This will cause accelerated deterioration to the historic material which may go unnoticed.
2.6 Remove layers that cover the original
material.
• Once the non-historic siding is removed, repair
the original, underlying material.
Monitor the condition of horizontal surfaces that collect snow and water.
Repair of historic siding in preparation for new paint.
54 • City of Aspen • Historic Preservation Design Guidelines
Before: Building prior to alteration.After: A cornice has been installed over the original brick.
cHapter 2: BuIldIng MaterIals
Before: A sign was installed overtop of the original decorative
molding.
After: The molding after restoration.
After: The same house after non-historic siding materials were removed to expose original clapboard.Before: The original siding on this house was covered with asbestos shingles.
City of Aspen • Historic Preservation Design Guidelines • 55
cHapter 3: wIndows
Background
Windows are some of the most important character-
defining features of historic structures. They give
scale to buildings and provide visual interest to the
composition of individual façades. In fact, distinct window designs help define many historic building
styles. For example, AspenModern properties in
the Wrightian/Organic style typically have mitered
windows that blur the line between the outside and
the inside. The treatment of a historic window and the addition of a new opening to a historic structure
requires careful consideration.
Key Features of Windows
The size, shape, location, and proportions of historic
windows are among their essential features. Many
Aspen Victorian windows were “double hung” with two sliding vertical sashes. These windows were usually
sparsely placed around the structure. In contrast,
a key defining feature of the Modern Chalet is large
areas of glazing spanning from floor to roofline. The
design of window casings, the depth and profile of window sash elements and the materials of which
they were constructed are also important features.
Window Types
Window types typically found on Aspen landmarks
include:
• Casement - Hinged windows that swing open typically to the outside.
• Double Hung - Two sash elements, one above the
other; both upper and lower sashes slide within
tracks on the window jambs.
• Single Hung - Two sash elements, one above the other; only the lower sash moves.
• Fixed - The sash does not move.
• Mitered - Also called butt glazed windows, two windows joined together create a 90 degree corner.
Casement windows.
Double hung windows.
Policy: The character-defining features
of historic windows and their distinctive
arrangement on a wall should be preserved.
This is especially important on primary façades. New windows should be in character with the historic building.
cHApter 3: windows
56 • City of Aspen • Historic Preservation Design Guidelines
cHapter 3: wIndows
Deterioration of Historic Windows
Properly maintained, original windows will provide
excellent service for centuries. Most problems that
occur result from a lack of proper maintenance.
Water damage and the ultra-violet degradation caused
by sunlight are major concerns, specifically for wood
windows. If surfaces fail to drain properly, water may
be introduced which quickly begins to cause material
damage. In most cases, windows are protected if a good coat of paint or stain is maintained.
Repair or Replacement of Historic Windows
Whenever possible, repair a historic window, rather
than replace it. In most cases it is in fact more
economical to repair the existing frame and glass
rather than to replace them. Even when replaced with an exact duplicate window, a portion of the historic
building fabric is lost when new windows are installed,
and therefore such treatment should be avoided.
Inspect historic windows to determine their condition. Distinguish superficial signs of deterioration from
actual failure of window components. Peeling paint,
dried wood, or a rotted sill, for example, are serious
problems, but often do not indicate that a window is
beyond repair. Patching and splicing in new material for only those portions that are decayed is preferred.
Complete window replacement will only be approved
when unavoidable, on a case-by-case basis.
While replacing an entire window assembly is
discouraged, it may be necessary in some cases.
When a window is to be replaced, the new one
should match the appearance of the original to the
greatest extent possible, including the material, size and proportion of window elements, glass and sash
components, the original profile, and the original
depth of the window opening.
Energy Conservation
In some cases, owners may be concerned that an older window is inefficient in terms of energy conservation.
In winter, for example, heat loss associated with an
older window may make a room uncomfortable
and increase heating costs. In fact, most heat loss
is associated with air leakage though gaps that are the result of a lack of maintenance, rather than loss
of energy through the single pane of glass found in
historic windows. The glazing compound may be
cracked or missing, allowing air to move around the
glass. Sash members also may have shifted, leaving a gap for heat loss. Adding a storm window, which
Fixed windows.
Mitered windows.
City of Aspen • Historic Preservation Design Guidelines • 57
cHapter 3: wIndows
Before: Window and door openings filled in with non-historic materials.
was typical practice in the 19th century, or weather stripping successfully addresses air leakage while
preserving the historic window.
Treatment of Windows3.1 Preserve the functional and decorative
features of a historic window.
• Features important to the character of a window include its frame, sash, muntins/mullions, sills, heads, jambs, moldings, operations, and groupings of windows.
• Repair frames and sashes rather than replacing
them.
• Preserve the original glass. If original Victorian era glass is broken, consider using restoration
glass for the repair.
3.2 Preserve the position, number, and
arrangement of historic windows in a building wall.
• Enclosing a historic window is inappropriate.
• Do not change the size of an original window
opening.
Replacement of Windows that are
Beyond Repair, or Have Been Removed
3.3 Match a replacement window to the original
in its design.
• If the original is double-hung, then the replacement
window must also be double-hung. If the sash
have divided lights, match that characteristic as
well.
3.4 When replacing an original window, use materials that are the same as the original.
3.5 Preserve the size and proportion of a
historic window opening.
• Changing the window opening is not permitted.
• Consider restoring an original window opening
that was enclosed in the past.
3.6 Match, as closely as possible, the profile of the sash and its components to that of the
original window.
• A historic window often has a complex profile. Within the window’s casing, the sash steps back to the plane of the glazing (glass) in several
After: Restored storefront.
58 • City of Aspen • Historic Preservation Design Guidelines
cHapter 3: wIndows
After: Restored windows.
Before: Look for evidence of original openings and restore.
increments. These increments, which individually only measure in eighths or quarters of inches, are important details. They distinguish the actual window from the surrounding plane of the wall.
• The historic profile on AspenModern properties is
typically minimal.
Adding Windows
3.7 Adding new openings on a historic structure
is generally not allowed.
• Greater flexibility in installing new windows may
be considered on rear or secondary walls.
• New windows should be similar in scale to the historic openings on the building, but should in some way be distinguishable as new, through the use of somewhat different detailing, etc.
• Preserve the historic ratio of window openings
to solid wall on a façade.
• Significantly increasing the amount of glass on a character defining façade will negatively affect the integrity of a structure.
Energy Conservation
3.8 Use a storm window to enhance energy conservation rather than replace a historic
window.
• Install a storm window on the interior, when feasible. This will allow the character of the original window to be seen from the public way.
• If a storm window is to be installed on the exterior,
match the sash design and material of the original
window. It should fit tightly within the window
opening without the need for sub-frames or
panning around the perimeter. A storm window
should not include muntins unless necessary for
structure. Any muntin should be placed to match
horizontal or vertical divisions of the historic
window.
Exterior mounted wood storm windows.
City of Aspen • Historic Preservation Design Guidelines • 59
cHapter 4: doors
BackgroundDoors are important character-defining features of historic structures, which give scale to buildings
and provide visual interest to the composition of
individual façades. Many historic doors are noted for
their materials, placement and finishes.
Door FeaturesImportant features include the materials and details
of the door itself, its frame, sill, head, jamb and any
flanking windows or transoms.
Door Types
Door types found on historic structures in Aspen
include:
• Doorway with transom - Typically a wooden door topped with a rectangular transom with glass.
• Half-lite door - This type of door has a wide sash
of glass in the upper portion of the door. Many
early Aspen houses have half-lite doors.
• Full-lite door - This type of door is predominantly glass.
• Paneled door - Wooden door with raised panels.
• Slab door - A door without panels or glass.
Full-lite door.
Policy: The character-defining features of a historic door and its distinct materials and
placement should be preserved. A new door
should be in character with the historic building.
cHApter 4: doors
Doorway with transom.
Half-lite door with double arched windows.
Slab door.
60 • City of Aspen • Historic Preservation Design Guidelines
cHapter 4: doors
Deterioration
A typical Aspen Victorian door is sheltered by a
porch, which extends the life of the door. However,
deterioration can still occur due to water damage, weathering, and constant use. AspenModern properties typically have minimal roof overhangs or
porches. As a result of deterioration, some historic
doors do not properly fit their openings and allow
moisture and air into the building.
Repair of Historic Doors
A problem door sometimes just needs to be re-hung
in order to properly work. If is often easier and more economical to repair an existing door rather than to replace it. This is preferred because the original
materials contribute to the historic character of the
building. Even when replaced with an exact duplicate,
a portion of the historic building fabric is lost and such treatment should be avoided.
When rehabilitating a historic door it is important to
maintain original doors, jambs, transoms, window
panes and hardware. Surfaces may require cleaning and patching and some components may be deteriorated beyond repair. Patching and splicing in
new material for only those portions that are decayed
should be considered in such a case, rather than
replacing the entire door.
Replacement DoorsReplacing an entire door assembly is discouraged. When a door must be replaced, the new one should
match the original. A frequent concern is the material
of the replacement door. Using the same material as
the original is required. If the historic door was wood, then use a wood replacement. It is important to preserve the original jamb when feasible.
Door FunctionThe historic front door on a primary façade must be the main entrance into the building. Aspen Victorians
with two front doors are permitted to fix one of
the doors in place so that it does not operate. The
procedure to fix the door must be reversible.
Energy Conservation
Owners may be concerned about the energy efficiency
of old doors that seem to leak cold air during the winter. Most heat loss is associated with air leakage through the space below the door.
The most cost-effective energy conservation measure
for a typical historic door is to install weather stripping
Door at 827 dean street.
Caption
Caption
City of Aspen • Historic Preservation Design Guidelines • 61
cHapter 4: doors
along the door, to fit the door to the jamb and threshold
and to caulk any window panes. These measures
will dramatically reduce heat loss while preserving historic features. If additional energy savings are a concern, consider installing a storm door. This may be
applied to the exterior of the door. If a storm door is to
be installed, it should match the design and materials
of the original door.
Treatment of Existing DoorsThese guidelines for the treatment of doors apply to
all existing and proposed exterior doors, and screen
doors.
4.1 Preserve historically significant doors.
• Maintain features important to the character
of a historic doorway. These include the door,
door frame, screen door, threshold, glass panes,
paneling, hardware, detailing, transoms and
flanking sidelights.
• Do not change the position and function of original front doors and primary entrances.
• If a secondary entrance must be sealed shut, any
work that is done must be reversible so that the
door can be used at a later time, if necessary. Also,
keep the door in place, in its historic position.
• Previously enclosed original doors should be
reopened when possible.
4.2 Maintain the original size of a door and its opening.
• Altering its size and shape is inappropriate. It
should not be widened or raised in height.
4.3 When a historic door or screen door is
damaged, repair it and maintain its general historic appearance.
Replacement Doors
4.4 When replacing a door or screen door, use
a design that has an appearance similar to the
original door or a door associated with the style
of the building.
• A replica of the original, if evidence exists, is the
preferred replacement.
• A historic door or screen door from a similar building also may be considered.
• Simple paneled doors were typical for Aspen
Victorian properties.
Many Victorian era homes in Aspen had two front doors; one
for receiving guests and one for family use.
A new screen door.
An original screen door must be preserved.
62 • City of Aspen • Historic Preservation Design Guidelines
cHapter 4: doors
• Very ornate doors, including stained or leaded
glass, are discouraged, unless photographic
evidence can support their use.
Adding Doors4.5 Adding new doors on a historic building is
generally not allowed.
• Place new doors in any proposed addition rather
than altering the historic resource.
• Greater flexibility in installing a door in a new location may be considered on rear or secondary walls.
• A new door in a new location should be similar in
scale and style to historic openings on the building
and should be a product of its own time.
• Preserve the historic ratio of openings to solid wall on a façade. Significantly increasing the openings on a character defining façade negatively affects the integrity of a structure.
Energy Conservation
4.6 If energy conservation and heat loss are concerns, use a storm door instead of replacing
a historic entry door.
• Match the material, frame design, character, and color of the primary door.
• Simple features that do not detract from the
historic entry door are appropriate for a new
storm door.
• New storm or screen doors should be in character with the primary door.
Door Hardware
4.7 Preserve historic hardware.
• When new hardware is needed, it must be in scale
with the door and appropriate to the style of the
building.
• On Aspen Victorian properties, conceal any modern elements such as entry key pads.
A decorative door knob.
City of Aspen • Historic Preservation Design Guidelines • 63
cHapter 5: porcHes & BalconIes
Background
In the 19th century, front, side and rear porches were popular features in residential design. A porch protects an entrance from snow and provides shade
in the summer. It also provides a sense of scale and
aesthetic quality to the façade of a building. A porch
often connects a house to its context by orienting the entrance to the street. Because of their importance as character-defining features, porches should receive
sensitive treatment during exterior rehabilitation and
restoration work.
Some AspenModern styles employed recessed entries
and roof overhangs as porches. Open balconies are
common on Chalet and Modern Chalet buildings.
Key Features
Porches and balconies vary as much as architectural styles. They differ in height, scale, location, materials and articulation. A porch or balcony may be cut in,
project or wrap around a corner and it may have
elaborate details and finishes. Although they vary in
character, most Aspen Victorian porches have these elements in common:
• Balustrades or railings
• Posts/columns
• Architectural details
• Hipped/shed/flat roofs
These elements often correspond to the architectural
style of the house and therefore, the building’s design
character should be considered before any major rehabilitation or restoration work is done.
AspenModern properties sometimes feature
traditional porches, but may have balconies which
run the full width or length of a structure and sit 1/2 story of a full story above the ground. The balustrade may be decorative or simple squared rails.
Policy: An original porch or balcony should
be preserved. In cases where the feature has been altered, it should be restored to its original appearance.
cHApter 5: porcHes & bAlconies
An entry porch on a Pan Abode building.
A Victorian porch.
A balcony on a Chalet.
64 • City of Aspen • Historic Preservation Design Guidelines
cHapter 5: porcHes & BalconIes
Deterioration
Because of constant exposure to sun and rain and the
fact that a porch or balcony is open to the elements,
it decays faster than other portions of a building. Furthermore, if water is not channeled away from the foundation of a porch, its footings may be damaged.
Peeling paint is a common symptom. In some
cases a porch or balcony may experience sagging or
detachment from the main structure due to settling.
Repair of Porches
After discovering structural or cosmetic problems, a porch or balcony should be repaired rather than replaced. Repair is preferred to replacement because
the original materials contribute to the historic
character of the porch. Even when replaced with an
exact duplicate, a portion of the historic building fabric is lost; therefore, such treatment should be avoided when feasible.
Reconstructing a porch or balcony that is beyond repair or has been removed
When reconstruction is necessary, research the
history of the building to determine the original design
of the feature. Look for physical evidence including “ghost lines” on walls that indicate the outline of the features as it once existed. Reference similar
buildings for guidance if needed.
Treatment5.1 Preserve an original porch or balcony.
• Replace missing posts and railings when necessary. Match the original proportions, material and spacing of balusters.
• Expanding the size of a historic porch or balcony
is inappropriate.
5.2 Avoid removing or covering historic
materials and details.
• Removing an original balustrade, for example, is inappropriate.
5.3 Enclosing a porch or balcony is not appropriate.
• Reopening an enclosed porch or balcony is appropriate.
Before: A historic porch where the original posts and details were replaced with an inaccurate design.
Handrails are susceptible to deterioration.
After: A restored porch based on historic documentation.
City of Aspen • Historic Preservation Design Guidelines • 65
cHapter 5: porcHes & BalconIes cHapter 5: porcHes & BalconIes
Reconstruction
5.4 If reconstruction is necessary, match the
original in form, character and detail.
• Match original materials.
• When reconstructing an original porch or balcony
without historic photographs, use dimensions and
characteristics found on comparable buildings.
Keep style and form simple with minimal, if any,
decorative elements.
Steps, Handrails, and Guardrails
5.5 If new steps are to be added, construct
them out of the same primary materials used on the original, and design them to be in scale
with the porch or balcony
• Steps should be located in the original location.
• Step width should relate to the scale of entry
doors, spacing between posts, depth of deck, etc.
• Brick, red sandstone, grey concrete, or wood are appropriate materials for steps.
5.6 Avoid adding handrails or guardrails where they did not exist historically, particularly
where visible from the street.
• If handrails or guardrails are needed according
to building code, keep their design simple in
character and different from the historic detailing
on the porch or balcony.
Before: An enclosed porch significantly changes the character of the historic structure.
After: The porch is restored, based on historic documentation.
66 • City of Aspen • Historic Preservation Design Guidelines
cHapter 6: arcHItectural detaIls
Background
Architectural details play several roles in defining the
character of a historic structure. They add visual
interest, distinguish certain building styles and types, and often showcase superior craftsmanship. While architectural details on many styles are ornamental in
nature, some are very simple. In both cases, the
character of the details contributes to the significance
of historic properties. Features such as window hoods, brackets and posts exhibit materials and finishes often associated with particular styles.
Treatment & RepairPreserving original architectural details is critical to the integrity of the building. Where replacement is
required, one should remove only those portions that
are deteriorated beyond repair. Even if an architectural
detail is replaced with an exact copy of the original, the integrity of the building as a historic resource is diminished. Therefore, preservation of the original
material is preferred.
ReplacementUsing a material to match the historic material is
always the best approach. In unique circumstances,
a substitute material may be considered when it
appears similar in composition, design, color, and texture to the original. Substitute materials may be considered when the original is not available, where
the original is known to be susceptible to rapid decay,
or where maintenance access may be difficult.
Treatment of Architectural Features
6.1 Preserve significant architectural features.
• Repair only those features that are deteriorated.
• Patch, piece-in, splice, or consolidate to repair the
existing materials, using recognized preservation
methods whenever possible.
• On AspenModern properties, repair is preferred, however, it may be more important to preserve the
Policy: Architectural details help establish a
historic building’s distinct visual character and
should be preserved. If architectural details are
damaged beyond repair, replacements should match the original detailing.
cHApter 6: ArcHitecturAl detAils
An ornate Queen Anne home.
Simple miner’s cottage with ornate details.
City of Aspen • Historic Preservation Design Guidelines • 67
cHapter 6: arcHItectural detaIls
integrity of the original design intent, such as crisp
edges, rather than to retain heavily deteriorated
material.
6.2 When disassembly of a historic element is
necessary for its restoration, use methods that minimize damage to the original material.
• Document its location so it may be repositioned accurately. Always devise methods of replacing the disassembled material in its original configuration.
6.3 Remove only the portion of the detail that
is deteriorated and must be replaced.
• Match the original in composition, scale, and
finish when replacing materials or features.
• If the original detail was made of wood, for example, then the replacement material should be wood, when feasible. It should match the original in size and finish.
6.4 Repair or replacement of missing or
deteriorated features are required to be based
on original designs.
• The design should be substantiated by physical or pictorial evidence to avoid creating a misrepresentation of the building’s heritage.
• When reconstruction of an element is impossible
because there is no historical evidence, develop
a compatible new design that is a simplified
interpretation of the original, and maintains
similar scale, proportion and material.
6.5 Do not guess at “historic” designs for
replacement parts.
• Where scars on the exterior suggest that architectural features existed, but there is no other physical or photographic evidence, then new features may be designed that are similar in character to related buildings.
• Using ornate materials on a building or adding
new conjectural detailing for which there is no
documentation is inappropriate.
Broken balusters within this railing were carefully replicated.
The Health Club at the Aspen Meadows features a simple, but
carefully detailed fascia.
A portion of the metal crown on the Elks Building was missing
and needed to be replicated.
The restored dome on the Elks Building.
68 • City of Aspen • Historic Preservation Design Guidelines
cHapter 7: rooFs
Background
The character of the roof is a major feature for most
historic structures. In each case, the roof pitch,
materials, size and orientation are all distinct features that contribute to its character. Aspen Victorian properties have a range of gabled, hip, shed, and flat
roof forms depending on building type. AspenModern
properties typically have a range of gable, parabolic,
butterfly or flat roof forms depending on the architectural style. Although the function of a roof is to protect a structure from the elements, it contributes
to overall architectural character of the building.
Characteristics Most Associated with Aspen
Architectural Styles
• Deep Overhangs - Chalet, Modern Chalet, Rustic, Wrightian
• Flat roof, minimal eaves - Modern
• Gables, shed - Victorian
DeteriorationThe roof is the structure’s main defense against the
elements. Over time all components of the roofing
system are vulnerable to leaking and damage. When
the roof begins to experience failure it can affect other
parts of the structure by no longer acting as a barrier from water, wind, and exposure. Common sources of
roof leaks include:
• Cracks in chimney masonry
• Loose flashing around chimneys and ridges
• Loose or missing roof shingles
• Cracks in roof membranes caused by settling
rafters
• Water backup from plugged gutters
• Ice dams
Policy: The character of a historical roof,
including its form and materials, should be
preserved.
cHApter 7: roofs
Deep overhangs on a Chalet.
An A-Frame roof form on a Fritz Benedict designed home.
City of Aspen • Historic Preservation Design Guidelines • 69
cHapter 7: rooFs
Repairing a Historic Roof
When repairing a historic roof it is important to
preserve its historic character. It is not appropriate
to alter the pitch of a historic roof, or to change the orientation of the roof to the street. Eave overhangs are extremely important to the style of the house and
should be preserved.
Gutters, Downspouts, Snowstops, and Snow Fences
Gutters and downspouts are used to divert water
away from a structure. Without this drainage system, water may splash off the roof onto exterior walls and run along the foundation of the building. Snowstops
and snow fences are used to protect inhabitants and
the building from the sudden snow avalanches that
rip off architectural details and can cause serious injury. Gutters can be seen in some 19th century photos of historic buildings and are more common on
AspenModern structures. Overall, the visual impact
of these functional elements should be minimized.
Dormers
Historically, a dormer was sometimes added to create
more head room and light in an attic. It typically had
a vertical emphasis and was usually placed as a single element or in a pair on a roof. A dormer did not dominate a roof form. A new dormer should always
read as a subordinate element to the primary roof
plane. A new dormer should never be so large that
the original roof line is obscured. It should also be set back from the roof edge and located below the roof ridge. In addition, the style of the new dormer should
be in keeping with that of the building. Dormers are
generally foreign to some architectural styles, such
as Modernism.
Roof Materials
Exterior roof materials like shingles are usually not
original on Aspen Victorian properties due to age and replacement over time. Periodic replacement of roofing is accepted. However, roof sheathing
and structure is typically original on most of these
buildings should be preserved. When repairing or
altering a historic roof, do not remove significant materials that are in good condition. Always repair materials when feasible. For example, sister beams
when roof rafters need more structural integrity
rather than removing and replacing the element.
Where replacement is necessary, use a material that is similar to the original in style and texture. Some AspenModern styles exposed roof rafters under deep
overhangs as part of the architectural style. These
character defining features must be preserved.
Preserve original roof cresting, as found on the Sardy House.
70 • City of Aspen • Historic Preservation Design Guidelines
cHapter 7: rooFs
Additions to Roofs
Many Aspen residences have original chimneys. Wood burning appliances are no longer allowed in the City of Aspen, which means that historic chimneys
are being retrofitted to accommodate other vents.
New venting of any type added to a roof should be low
profile, carefully located, and painted a matte black or
dark color to not detract from the historic chimney.
Treatment of Roofs
7.1 Preserve the original form of a roof.
• Do not alter the angle of a historic roof. Preserve the orientation and slope of the roof as seen from the street.
• Retain and repair original and decorative roof
detailing.
• Where the original roof form has been altered,
consider restoration.
7.2 Preserve the original eave depth.
• Overhangs contribute to the scale and detailing of a historic resource.
• AspenModern properties typically have very deep
or extremely minimal overhangs that are key
character defining features of the architectural
style.
7.3 Minimize the visual impacts of skylights and other rooftop devices.
• Skylights and solar panels are generally not allowed on a historic structure. These elements may be appropriate on an addition.
7.4 New vents should be minimized, carefully,
placed and painted a dark color.
• Direct vents for fireplaces are generally not
permitted to be added on historic structures.
• Locate vents on non-street facing facades.
• Use historic chimneys as chases for new flues
when possible.
7.5 Preserve original chimneys, even if they
are made non-functional.
• Reconstruct a missing chimney when documentation exists.
7.6 A new dormer should remain subordinate to the historic roof in scale and character.
• A new dormer is not appropriate on a primary,
These new chimney vents are consistent with the building
type, located behind the ridgeline, and a dark color.
This non-historic chimney is overscaled for the miner’s cottage.
Before: Skylights are inappropriate on a miner’s cottage.
After: The historic resource after the skylights were removed.
City of Aspen • Historic Preservation Design Guidelines • 71
cHapter 7: rooFs
character defining façade.
• A new dormer should fit within the existing wall
plane. It should be lower than the ridgeline and set
in from the eave. It should also be in proportion
with the building.
• The mass and scale of a dormer addition must be subordinate to the scale of the historic building.
• While dormers improve the livability of upper floor
spaces where low plate heights exist, they also
complicate the roof and may not be appropriate
on very simple structures.
• Dormers are not generally not permitted on AspenModern properties since they are not characteristic of these building styles.
Materials
7.7 Preserve original roof materials.
• Avoid removing historic roofing material that is in
good condition. When replacement is necessary,
use a material that is similar to the original in both
style as well as physical qualities and use a color
that is similar to that seen historically.
7.8 New or replacement roof materials should
convey a scale, color and texture similar to the original.
• If a substitute is used, such as composition shingle, the roof material should be earth tone and have a matte, non-reflective finish.
• Flashing should be in scale with the roof material.
• Flashing should be tin, lead coated copper, galvanized or painted metal and have a matte, non-reflective finish.
• Design flashing, such as drip edges, so that
architectural details are not obscured.
• A metal roof is inappropriate for an Aspen Victorian primary home but may be appropriate for a secondary structure from that time period.
• A metal roof material should have a matte, non-
reflective finish and match the original seaming.
7.9 Avoid using conjectural features on a roof.
• Adding ornamental cresting, for example, where
there is no evidence that it existed, creates a false
impression of the building’s original appearance,
and is inappropriate.
Before: A historic resource before dormers were added.
After: New dormers that are too large can change the massing
of the original building.
Preserve original roof material when possible.
72 • City of Aspen • Historic Preservation Design Guidelines
cHapter 7: rooFs
7.10 Design gutters so that their visibility
on the structure is minimized to the extent possible.
• Downspouts should be placed in locations that
are not visible from the street if possible, or
in locations that do not obscure architectural
detailing on the building.
• The material used for the gutters should be in character with the style of the building.
These simple gutters are in character with a miner’s cottage.
City of Aspen • Historic Preservation Design Guidelines • 73
cHapter 8: secondary structures
This chapter addresses the treatment of secondary structures. These guidelines apply in addition to
the guidelines for treatment of doors, windows,
roofs, materials, additions and architectural details
presented in the preceding chapters.
Secondary structures include detached garages,
carriage houses, and sheds. Traditionally, these
structures were important elements of 19th
century residential sites in particular. Secondary
structures help interpret how an entire site was used historically. Most secondary structures are simple in
form, materials, and detailing, reflecting their more
utilitarian functions. Because secondary structures
are subordinate to a primary building, greater
flexibility in their treatment may be considered, but their preservation is a priority.
Secondary Structures
8.1 If an existing secondary structure is
historically significant, then it must be
preserved.
• When treating a historic secondary building,
respect its character-defining features. These
include its materials, roof form, windows, doors,
and architectural details.
• If a secondary structure is not historically significant, then its preservation is optional. The determination of significance is based on documentation of the construction date of the outbuilding and/or physical inspection. A secondary structure that is related to the period of significance of the primary structure will likely
require preservation.
8.2 Preserve a historic secondary building as a
detached structure.
• Any proposal to attach a secondary structure is
reviewed on a case-by-case basis.
• The position and orientation of the structure
• should be maintained except when HPC finds that an alternative is the best preservation option.
• Some AspenModern properties incorporated
garages and carports into the architecture. This
pattern should be maintained.
This carriage house illustrates how Victorian secondary
buildings were typically placed along alleys.
Policy: When a secondary structure is determined to be historically significant, it must
be preserved. This may include keeping the
structure in its present condition or, rehabilitating
it or adapting it to a new use so that the building continues to serve a useful function.
Note: Outbuildings often encroach into the
alleys or at least into setbacks. The owner
should be aware of variances or encroachment licenses that may be required to renovate these buildings. Typically an outbuilding that is over a
property line must be moved entirely onto one
lot during a major redevelopment.
cHApter 8: secondAry structures
Policy: An original porch should be preserved.
In cases where the porch has been altered, it
should be restored to its original appearance.
74 • City of Aspen • Historic Preservation Design Guidelines
cHapter 8: secondary structures
8.3 Do not add detailing or features to a
secondary structure that are conjectural and not in keeping with its original character as a
utilitarian structure.
• Most secondary structures are basic rectangular solids, with simple finishes and no ornamentation.
8.4 When adding on to a secondary structure,
distinguish the addition as new construction
and minimize removal of historic fabric.
• Additions to a secondary structure must be smaller in footprint than the original building and lower in height. Maintaining the overall mass and scale is particularly important.
• Do not alter the original roof form.
• An addition must be inset from the corners of the
wall to which it attaches.
8.5 Preserve the original building materials, or match in kind when necessary.
8.6 Preserve original door and window openings and minimize new openings.
• If an original carriage door exists, and can be made to function for automobile use, this is preferred.
8.7 If a new garage door is added, it must be
compatible with the character of the historic structure.
• The materials and detailing should be simple.
8.8 Adaptation of an obsolete secondary
structure to a functional use is encouraged.
• The reuse of any secondary structure should be sensitive so that its character is not lost.
After: The same outbuilding, after restoration, contributes to the collection of small structures along the alley.
Before: Outbuildings can fall into disuse and disrepair.
When converting an outbuilding for vehicular use, install a
simple garage door.This former barn has been adapted for residential use, with
character defining features preserved.
design guidelines: n ew construction
76 • City of Aspen • Historic Preservation Design Guidelines
cHapter 9: excavatIon, BuIldIng relocatIon, & FoundatIons
This chapter presents guidelines for constructing basements, relocating historic structures and
installing new foundations. The guidelines apply to
primary and secondary structures.
The original placement of a building on its site is an important aspect of history, contributes to integrity
and authenticity, and should be preserved.
Historic records indicate that structures have been
occasionally moved within the City reaching back into the Victorian era, therefore, some precedent exists.
Today, however, such relocation must be considered
carefully.
Installing a foundation that meets modern standards can be very beneficial to the long term condition of the
building. Ideally the structure will not be permanently
repositioned as part of this process.
It may be acceptable to reposition a structure on its original site if doing so will accommodate
other compatible improvements that will assure
preservation. For example, if a house straddles two
parcels, shifting it to one side may accommodate
construction of a new, detached structure. Doing so may better protect the scale of the original structure,
as opposed to erecting a large addition in close
proximity to the landmark.
Preserving Building Locations and
Foundations
9.1 Developing a basement by underpinning
and excavating while the historic structure
remains in place may help to preserve the
historic fabric.
• This activity will require the same level of
documentation, structural assessment, and
posting of financial assurances as a building
relocation.
9.2 Proposals to relocate a building will be
considered on a case-by-case basis
• In general, on-site relocation has less of an impact on individual landmark structures than those in a historic district.
• In a district, where numerous adjacent historic
structures may exist, the way that buildings were
placed on the site historically, and the open yards
visible from the street are characteristics that
should be respected in new development.
• Provide a figure ground study of the surrounding parcels to demonstrate the effects of a building relocation.
• In some cases, the historic significance of the
structure, the context of the site, the construction
technique, and the architectural style may make
on-site relocation too impactful to be appropriate.
It must be demonstrated that on-site relocation
is the best preservation alternative in order for
approval to be granted.
• If relocation would result in the need to reconstruct a substantial area of the original exterior surface of the building above grade, it is not an appropriate preservation option.
9.3 Site a relocated structure in a position
similar to its historic orientation.
• It must face the same direction and have a
relatively similar setback. In general, a forward
movement, rather than a lateral movement is
preferred. HPC will consider setback variations
Policy: Moving a historic structure is discouraged; however, in some instances it may be the most appropriate option. Generally, buildings must
be relocated within the boundaries of their
original site. Permanent off-site relocation is
detrimental and will only be allowed when no other preservation alternative is available.
cHApter 9: excAvAtion, building relocAtion & foundAtions
City of Aspen • Historic Preservation Design Guidelines • 77
cHapter 9: excavatIon, BuIldIng relocatIon, & FoundatIons
where appropriate.
• A primary structure may not be moved to the rear of the parcel to accommodate a new building in front of it.
• Be aware of potential restrictions against locating
buildings too close to mature trees. Consult with
the City Forester early in the design process.
Do not relocate a building so that it becomes
obscured by trees.
9.4 Position a relocated structure at its historic
elevation above grade.
• Raising the finished floor of the building slightly
above its original elevation is acceptable if needed
to address drainage issues. A substantial change
in position relative to grade is inappropriate.
• Avoid making design decisions that require code related alterations which could have been avoided. In particular, consider how the relationship to grade could result in non-historic guardrails, etc.
9.5 A new foundation shall appear similar in
design and materials to the historic foundation.
• On modest structures, a simple foundation is
appropriate. Constructing a stone foundation on
a miner’s cottage where there is no evidence that
one existed historically is out of character and is
not allowed.
• Exposed concrete or painted metal flashing are generally appropriate.
• Where a stone or brick foundation existed
historically, it must be replicated, ideally using
stone salvaged from the original foundation as a
veneer. The replacement must be similar in the
cut of the stone and design of the mortar joints.
• New AspenModern foundations shall be handled on a case by case basis to ensure preservation of the design intent.
9.6 Minimize the visual impact of lightwells.
• The size of any lightwell that faces a street should be minimized.
• Lightwells must be placed so that they are not
immediately adjacent to character defining
features, such as front porches.
• Lightwells must be protected with a flat grate, rather than a railing or may not be visible from a street.
• Lightwells that face a street must abut the
building foundation and generally may not “float”
The original sandstone was used as a veneer on this foundation
after a new basement was built.
Storing the historic resource on site during construction of the new foundation is strongly preferred.
78 • City of Aspen • Historic Preservation Design Guidelines
cHapter 9: excavatIon, BuIldIng relocatIon, & FoundatIons
in the landscape except where they are screened,
or on an AspenModern site.
9.7 All relocations of designated structures
shall be performed by contractors who specialize in moving historic buildings, or can
document adequate experience in successfully
relocating such buildings.
• The specific methodology to be used in
relocating the structure must be approved by the
HPC.
• During the relocation process, panels must be mounted on the exterior of the building to protect existing openings and historic glass. Special care shall be taken to keep from damaging door and window frames and sashes in the process of covering the openings. Significant architectural details may need to be removed and securely stored until restoration.
• The structure is expected to be stored on its
original site during the construction process.
Proposals for temporary storage on a different
parcel will be considered on a case by case basis
and may require special conditions of approval.
• A historic resource may not be relocated outside of the City of Aspen.
9.8 Proposals to relocate a building to a new site are highly discouraged.
• Permanently relocating a structure from where it was built to a new site is only allowed for special circumstances, where it is demonstrated to be the only preservation alternative.
Temporary off-site storage of a structure requires special efforts to protect historic features.
City of Aspen • Historic Preservation Design Guidelines • 79
cHapter 10: BuIldIng addItIons
Background
This chapter presents guidelines for the construction
of additions to historic structures. They apply to
primary and secondary structures. Some special
references are made to additions planned in historic
districts.
Many historic buildings in Aspen, including secondary
structures, were expanded over time as the need
for more space occurred. Typically the addition
was subordinate in scale and character to the main
building. The height of the addition was usually lower
than that of the main structure and was often located
to the side or rear, such that the original building
retained its prominence.
The addition was often constructed of materials that
were similar to those used on the original structure.
This tradition of adding onto buildings is appropriate to
continue. It is important, however, that a new addition
be designed in such a manner that it preserves the
historic character of the original structure.
Existing Additions
An existing addition may have taken on historic
significance itself. It may have been constructed to
be compatible with the original building and it may
be associated with the period of historic significance,
thereby meriting preservation in its own right. Such
an addition should be carefully evaluated before
developing plans that may involve its alteration.
In some cases, an early alteration that has taken
on significance actually contrasts with the original
building, for example, a Modernist addition that
was constructed on a Chalet style structure. The
change reflects the evolution of the property. This
type of addition could be significant and worthy of
preservation.
The majority of more recent additions usually have
no historic significance. Some later additions in fact detract from the character of the building, and
may obscure significant features. Removing such
noncontributing additions is encouraged.
Basic Principles for New Additions
When planning an addition to a historic building, minimize negative effects to the historic building fabric. Alterations and additions should reflect their
own time while being subordinate and supportive of
the historic resource.
The addition shall not affect the architectural character of the building. In most cases, loss of character can
be avoided by locating the addition to the rear. The
overall design of the addition must be in keeping with
the historic structure and be distinguishable from the historic portion. This philosophy balances new and old construction and allows the evolution of the
building to be understood.
Keeping the size of the addition small and subordinate, in relation to the main structure, helps minimize its visual impacts. An addition must be set apart from
the historic building, and connected with a one story
linking element. This creates a break between new and
old construction and will help maintain the perceived scale and proportion of the historic resource.
In historic districts, consider the effect the addition
may have on the character of the area, as seen from
the public right-of-way. For example, a side addition may change the sense of rhythm established by side yards in the block. Locating the addition to the rear
cHApter 10: building Additions
Policy: A new addition to a historic building
must be designed such that the character of
the original structure is maintained. It shall
also be subordinate in appearance to the main building. Previous additions that have taken on
significance must be preserved.
80 • City of Aspen • Historic Preservation Design Guidelines
cHapter 10: BuIldIng addItIons
would be a better solution in such a case.
When designing an addition to a building, it is also
important to remember that the maximum potential
floor area in the Land Use Code is not guaranteed if it cannot be appropriately accommodated on the site. In some cases, smaller additions may be
necessary. Approval for Transferrable Development
Rights may be sought if unbuilt floor area cannot be
accommodated on the site.
Existing Additions10.1 Preserve an older addition that has
achieved historic significance in its own right.
10.2 A more recent addition that is not
historically significant may be removed.
• For Aspen Victorian properties, HPC generally
relies on the 1904 Sanborn Fire Insurance maps
to determine which portions of a building are
historically significant and must be preserved.
• HPC may insist on the removal of non-historic construction that is considered to be detrimental to the historic resource in any case when preservation benefits or variations are being approved.
Before: An addition extended the length of the cross gable and porch on this house, significantly altering its character.
After: The same house after the non-historic addition was
removed and the building was restored using historic photos.
After: The same building after restoration.
Before: Additions on the front of this structure, and an application of stucco masked the architectural significance of
the building.
City of Aspen • Historic Preservation Design Guidelines • 81
The rear addition varies from the form of the resource, but
addresses the materiality and fenestration.
New Additions
10.3 Design a new addition such that one’s
ability to interpret the historic character of the
primary building is maintained.
• A new addition must be compatible with the
historic character of the primary building.
• An addition must be subordinate, deferential, modest, and secondary in comparison to the architectural character of the primary building.
• An addition that imitates the primary building’s
historic style is not allowed. For example, a new
faux Victorian detailed addition is inappropriate
on an Aspen Victorian home.
• An addition that covers historically significant features is inappropriate.
• Proposals on corner lots require particular
attention to creating compatibility.
10.4 The historic resource is to be the focus of
the property, the entry point, and the
predominant structure as viewed from the street.
• The historic resource must be visually dominant on the site and must be distinguishable against the addition.
• The total above grade floor area of an addition
may be no more than 100% of the above grade
floor area of the original historic resource. All other
above grade development must be completely
detached. HPC may consider exceptions to this
policy if two or more of the following are met:
• The proposed addition is all one story.
• The footprint of the new addition is closely
related to the footprint of the historic resource
and the proposed design is particularly
sensitive to the scale and proportions of the
historic resource.
• The project involves the demolition and replacement of an older addition that is considered to have been particularly detrimental to the historic resource.
• The interior of the resource is fully utilized,
containing the same number of usable floors
as existed historically.
• The project is on a large lot, allowing the addition to have a significant setback from the street.
• There are no variance requests in the
application other than those related to historic
conditions that aren’t being changed.
cHapter 10: BuIldIng addItIons
An addition that does not provide a transition between old and new, and imitates the original building is no longer allowed.
A side and rear addition that uses materials to differentiate
between new and old construction.
82 • City of Aspen • Historic Preservation Design Guidelines
• The project is proposed as part of a voluntary
AspenModern designation, or
• The property is affected by non-preservation related site specific constraints such as trees that must be preserved, Environmentally Sensitive Areas review, etc.
10.5 On a corner lot, no portion of an addition to
a one story historic resource may be more than
one story tall, directly behind that resource,
unless completely detached above grade by a distance of at least 10 feet
HPC may consider exceptions to this policy if two or
more of the following are met:
• The connector element that links the new and old construction is a breezeway or transparent corridor, well recessed from the streetfacing side(s) of the historic resource and the area of two story construction that appears directly behind the one story historic resource is minimal
• The footprint of the new addition is closely related
to the footprint of the historic resource and the
proposed design is particularly sensitive to the
scale and proportions of the historic resource
• The project involves the demolition and replacement of an older addition that is considered to have been particularly detrimental to the historic resource
• The interior of the resource is fully utilized,
containing the same number of usable floors as
existed historically
• There are no variance requests in the application other than those related to historic conditions that aren’t being changed
• The project is proposed as part of a voluntary
AspenModern designation, or
• The property is affected by non-preservation related site specific constraints such as trees that must be preserved, Environmentally Sensitive Areas review, etc.
10.6 Design a new addition to be recognized
as a product of its own time.
• An addition shall be distinguishable from the
historic building and still be visually compatible
with historic features.
• A change in setbacks of the addition from the historic building, a subtle change in material, or a modern interpretation of a historic style are all techniques that may be considered to help define a change from historic construction to new
cHapter 10: BuIldIng addItIons
This addition to this Victorian is clad entirely in brick to
distinguish itself from the original clapboard sided Victorian.
This addition is taller than the resource, but setback on the lot
and scaled in a sympathetic manner.
City of Aspen • Historic Preservation Design Guidelines • 83
cHapter 10: BuIldIng addItIons
construction.
• Do not reference historic styles that have no basis in Aspen.
• Consider these three aspects of an addition;
form, materials, and fenestration. An addition
must relate strongly to the historic resource in
at least two of these elements. Departing from
the historic resource in one of these categories
allows for creativity and a contemporary design
response.
• Note that on a corner lot, departing from the form of the historic resource may not be allowed.
• There is a spectrum of appropriate solutions
to distinguishing new from old portions of a
development. Some resources of particularly
high significance or integrity may not be the right
instance for a contrasting addition.
10.7 When planning an addition to a building in a historic district, preserve historic alignments
on the street.
• Some roof lines and porch eaves on historic buildings may align at approximately the same height. An addition can not be placed in a location where these relationships would be altered or obscured.
10.8 Design an addition to be compatible in size and scale with the main building.
• An addition that is lower than, or similar to the
height of the primary building, is preferred.
10.9 If the addition is taller than a historic
building, set it back from significant façades and use a “connector” to link it to the historic
building.
• Only a one-story connector is allowed.
• Usable space, including decks, is not allowed on top of connectors unless the connector has limited visibility and the deck is shielded with a solid parapet wall.
• In all cases, the connector must attach to the
historic resource underneath the eave.
• The connector shall be a minimum of 10 feet long between the addition and the primary building.
• Minimize the width of the connector. Ideally, it
is no more than a passage between the historic
resource and addition. The connector must reveal
the original building corners. The connector may
not be as wide as the historic resource.
The side addition and connecting element on a lot with no alley use simple forms and contemproary materials. A low profile flat roof rear addition hides the new construction behind the landmark.
An addition that uses traditional forms with contemproary
architectural details and materials.
84 • City of Aspen • Historic Preservation Design Guidelines
cHapter 10: BuIldIng addItIons
• Any street-facing doors installed in the connector
must be minimized in height and width and
accessed by a secondary pathway. See guideline
4.1 for further information.
10.10 Place an addition at the rear of a primary
building or set it back substantially from the
front to minimize the visual impact on the historic structure and to allow the original
proportions and character to remain prominent.
• Locating an addition at the front of a primary
building is inappropriate.
• Additions to the side of a primary building are handled on a case-by-case basis and are approved based on site specific constraints that restrict rear additions.
• Additional floor area may also be located under
the building in a basement which will not alter the
exterior mass of a building.
10.11 Roof forms shall be compatible with the
historic building.
• A simple roof form that does not compete with the historic building is appropriate.
• On Aspen Victorian properties, a flat roof may only
be used on an addition to a gable roofed structure
if the addition is entirely one story in height, or if
the flat roofed areas are limited, but the addition is
primarily a pitched roof.
10.12 Design an addition to a historic structure
that does not destroy or obscure historically
important architectural features.
• Loss or alteration of architectural details, cornices,
and eavelines must be avoided.
Rooftop Additions on Flat Roofed
Buildings
10.13 When constructing a rooftop addition, keep the mass and scale subordinate to that of
the historic building.
10.14 Set a rooftop addition back from the
street facing façades to preserve the original
profile of the historic resource.
• Set the addition back from street facing façades a
distance approximately equal to its height.
10.15 The roof form of a rooftop addition must
be in character with the historic building. This rooftop addition is subordinate to the architecture of the original historic resource.
This lot could not accomodate a rear addition. This side addition is
successful because of simplicity, scale & separation.
City of Aspen • Historic Preservation Design Guidelines • 85
cHapter 11: new BuIldIngs on landMarked propertIes
The City provides several incentives for residential property owners to divide the square footage that
could be built on a landmark parcel into two or more
separate structures, to reduce the size of an addition
made to a historic house and to reinforce the original
character of many of Aspen’s neighborhoods, which had small buildings on 3,000 square foot lots. To
determine if a property is eligible for a historic lot split
to subdivide ownership of such structures, refer to the
Aspen Municipal Code.
Designing a new building to fit within the historic
character of a landmarked property requires careful
thought. Preserving a historic property does not
mean it must be “frozen” in time, but it does mean that
a new building should be designed in a manner that reinforces the basic visual characteristics of the site.
The new building should not look old: imitating historic
styles is inappropriate. It is appropriate to convey
the evolution of the property and neighborhood,
discerning the apparent age of each building by its style, materials, and method of construction.
A new design must relate to the fundamental
characteristics of the historic resource (site,
location, mass, form, materials, details) and be “of it’s own time.” For instance, a traditional form
may have contemporary materials and windows
to balance new and old construction. On the other
hand, a contemporary form may have traditional
materials that relate to the resource to maintain a strong dialogue between new and old construction.
Simplicity and modesty in design are encouraged.
Building Orientation
Aspen Victorian buildings are usually oriented with
the primary entrance facing the street. This helps establish a pedestrian-friendly quality. AspenModern
buildings have a range of orientations depending on
the design philosophy of the architect. For example, a
Chalet style building is often sited at an angle to face
mountain views.
Building Alignment
A front yard serves as a transitional space between
the public sidewalk and the private building entry. In
many blocks, front yards are similar in depth, resulting in a relatively uniform alignment of building fronts
which contributes to the sense of visual continuity.
Maintaining the established range of setbacks is
therefore preferred.
Mass and Scale
A new building must be compatible in mass and
scale with its historic neighbor and not overwhelm
it. At the same time, minimizing any addition to the historic resource and shifting square footage to the
new structure is generally desired.
Building FormMost historic buildings in Aspen are composed of
simple forms - a simple rectangular solid is typical.
In some cases, a building consists of a combination
of simple forms. A new building should respect these
traditions.
c HA pter 11: n ew buildings on lAnd MArked p roperties
Policy: New detached buildings may be
constructed on a parcel that includes a
landmarked structure. It is important that the
new building be compatible and not dominate the historic structure.
Note: The Residential Design Standards
described in the Aspen Municipal Code apply in
addition to these guidelines.
86 • City of Aspen • Historic Preservation Design Guidelines
cHapter 11: new BuIldIngs on landMarked propertIes
This new home is strongly related to the scale and forms of the adjacent Victorian.
This new structure uses Victorian inspired forms and materials,
but a contemporary approach to fenestration.
Building Placement
11.1 Orient the new building to the street.
• Aspen Victorian buildings should be arranged parallel to the lot lines, maintaining the traditional grid pattern.
• AspenModern alignments shall be handled case
by case.
• Generally, do not set the new structure forward of the historic resource. Alignment of their front setbacks is preferred. An exception may be made on a corner lot or where a recessed siting for the new structure is a better preservation outcome.
Mass and Scale 11.2 In a residential context, clearly define the
primary entrance to a new building by using a front porch.
• The front porch shall be functional, and used as
the means of access to the front door.
• A new porch must be similar in size and shape to those seen traditionally.
11.3 Construct a new building to appear
similar in scale and proportion with the historic buildings on a parcel.
• Subdivide larger masses into smaller “modules”
that are similar in size to the historic buildings on
the original site.
• Reflect the heights and proportions that characterize the historic resource.
11.4 Design a front elevation to be similar in scale to the historic building.
• The primary plane of the front shall not appear
taller than the historic structure.
11.5 The intent of the historic landmark lot
split is to remove most of the development
potential from the historic resource and place
it in the new structure(s).
• This should be kept in mind when determining how floor area will be allocated between structures proposed as part of a lot split.
11.6 Design a new structure to be recognized as a product of its time.
• Consider these three aspects of a new building;
form, materials, and fenestration. A project
must relate strongly to the historic resource in
City of Aspen • Historic Preservation Design Guidelines • 87
at least two of these elements. Departing from
the historic resource in one of these categories
allows for creativity and a contemporary design
response.
• When choosing to relate to building form, use forms that are similar to the historic resource.
• When choosing to relate to materials, use
materials that appear similar in scale and finish to
those used historically on the site and use building
materials that contribute to a traditional sense of
human scale.
• When choosing to relate to fenestration, use
windows and doors that are similar in size and
shape to those of the historic resource.
11.7 The imitation of older historic styles is discouraged.
• This blurs the distinction between old and new buildings.
• Overall, details shall be modest in character.
This new home reinterprets the roof form and balcony found on the Chalet home next door.
The adjacent Chalet.
cHapter 11: new BuIldIngs on landMarked propertIes
design g uidelines: g enerAl
90 • City of Aspen • Historic Preservation Design Guidelines
cHapter 12: accessIBIlIty, arcHItectural lIgHtIng, MecHanIcal equIpMent, servIces areas, & sIgnage
Accessibility
In 1990, the passage of the Americans with Disabilities Act (ADA) mandated that all places of public accommodation be made accessible to
everyone. This includes historic structures that are
used for commercial and multifamily purposes. While
all buildings must comply, alternative measures may be considered to ensure the integrity of a historic resource.
LightingThe character and intensity of outdoor lighting is a concern in the community. Exterior lighting should be
shielded in keeping with “Dark Skies” inspired policies.
The City of Aspen has lighting standards which must
be met in addition to HPC guidelines.
Mechanical Equipment & Service Areas
New technologies in heating, ventilating and
telecommunications have introduced mechanical equipment into historic areas where they were not seen traditionally. The visual impacts of such systems
should be minimized such that one’s ability to perceive
the historic character of the context is maintained.
Locating equipment such that it is screened from public view is the best approach.
Awnings
Large fabric awnings were common on commercial buildings in the 19th century, helping to cool the interior and providing shelter for storefronts. They
are not typical of AspenModern buildings, where a
brise soleil or similar cantilevered element served the
purpose of an awning.
Signs
Signs should not detract from character defining elements of a historic structure. Where possible, free standing signs, rather than signs mounted on
buildings are preferred. Sign lighting should be
minimized or concealed. The City of Aspen has a sign
code that must be met in addition to HPC guidelines.
Accessibility
12.1 Address accessibility compliance
requirements while preserving character defining features of historic buildings and
districts.
• All new construction must comply completely with the International Building Code (IBC) for accessibility. Special provisions for historic buildings exist in the law that allow some
flexibility when designing solutions which meet
accessibility standards.
c HApter 12: A ccessibility , A rc HitecturAl l ig H ting , Mec HA nicA l equip Ment , s ervice A reAs, & s ignAge
A subtle ramp eliminates the need for a step onto this historic
porch and therefore meets accessibility requirements.
City of Aspen • Historic Preservation Design Guidelines • 91
A reconstruction of the original light fixture that once existed
on an AspenModern building.
cHapter 12: accessIBIlIty, arcHItectural lIgHtIng, MecHanIcal equIpMent, servIces areas, & sIgnage
Lighting
12.2 Original light fixtures must be maintained. When there is evidence as to the appearance of original fixtures that are no longer present, a
replication is appropriate.
12.3 Exterior light fixtures should be simple in character.
• The design of a new fixture should be appropriate in form, finish, and scale with the structure.
• New fixtures should not reflect a different period of history than that of the affected building, or be
associated with a different architectural style.
• Lighting should be placed in a manner that is consistent with the period of the building, and should not provide a level of illumination that is out of character.
• One light adjacent to each entry is appropriate on an Aspen Victorian residential structure. A
recessed fixture, surface mounted light, pendant
or sconce will be considered if suited to the
building type or style.
• On commercial structures and AspenModern properties, recessed lights and concealed lights are often most appropriate.
Mechanical Equipment & Service Areas12.4 Minimize the visual impacts of utilitarian
areas, such as mechanical equipment and
trash storage.
• Place mechanical equipment on the ground where
it can be screened.
• Mechanical equipment may only be mounted on a building on an alley façade.
• Rooftop mechanical equipment or vents must
be grouped together to minimize their visual
impact. Where rooftop units are visible, it may be
appropriate to provide screening with materials
that are compatible with those of the building
itself. Use the smallest, low profile units available
for the purpose.
• Window air conditioning units are not allowed.
• Minimize the visual impacts of utility connections
and service boxes. Group them in a discrete
location. Use pedestals when possible, rather
than mounting on a historic building.
• Paint mechanical equipment in a neutral color to minimize their appearance by blending with their backgrounds
• In general, mechanical equipment should be
A simple sconce is appropriate for the front door
of this Victorian.
Concealed lighting is appropriate for this AspenModern landmark.
Wrightian influenced flush mounted fixtures suit the
Hearthstone Lodge.
92 • City of Aspen • Historic Preservation Design Guidelines
vented through the roof, rather than a wall, in a manner that has the least visual impact possible.
• Avoid surface mounted conduit on historic
structures.
Awnings
12.5 Awnings must be functional.
• An awning must project at least 3 feet, and not more than 5 feet from the building façade.
• An awning may only be installed at a door or
window and must fit within the limits of the door
or window opening.
• Awnings are inappropriate on AspenModern properties unless historic evidence shows otherwise.
Signs12.6 Signs should not obscure or damage
historic building fabric.
• Where possible, install a free standing sign that
is appropriate in height and width. Consolidate
signage for multiple businesses.
• Mount signs so that the attachment point can be easily repaired when the sign is replaced. Do not mount signage directly into historic masonry.
• Blade signs or hanging signs are generally
preferred to wall mounted signs because the
number of attachment points may be less.
• Signs should be constructed of wood or metal.
• Pictographic signs are encouraged because they
add visual interest to the street.
12.7 Sign lighting must be subtle and concealed.
• Pin mounted letters with halo lighting will not be approved on Aspen Victorian buildings.
• The size of a fixture used to light a sign must be
minimized. The light must be directed towards
the sign. If possible, integrate the lights into the
sign bracket.
12.8 Locate signs to be subordinate to the building design.
• Signs should be located on the first floor of buildings, primarily.
• Signs should not obscure historic building
details.
12.9 Preserve historic signs.
cHapter 12: accessIBIlIty, arcHItectural lIgHtIng, MecHanIcal equIpMent, servIces areas, & sIgnage
Historic awnings on Cooper Avenue.
Awnings at the Wheeler Opera House
Historic blade signs.
Appendix
94 • City of Aspen • Historic Preservation Design Guidelines
appendIx
The Secretary of the
Interiors’ Standards for the
Rehabilitation of Historic
Buildings.
The Secretary of the Interior’s Standards for the
Rehabilitation of Historic Buildings are general
rehabilitation guidelines established by the National Park Service. Rehabilitation is defined as the act or process of making possible a compatible use for a
property through repair, alterations, and additions
while preserving those portions or features which
convey its historical, cultural, or architectural values. These standards are policies that serve as a basis for the design principles presented in this document. The
Secretary’s Standards state that:
1. A property will be used as it was historically or
be given a new use that requires minimal change
to its distinctive materials, features, spaces, and
spatial relationships.
2. The historic character of a property will be
retained and preserved. The removal of distinctive
materials or alteration of features, spaces, and
spatial relationships that characterize a property
will be avoided.
3. Each property will be recognized as a physical
record of its time, place, and use. Changes that
create a false sense of historical development,
such as adding conjectural features or elements
from other historic properties, will not be
undertaken.
4. Changes to a property that have acquired historic
significance in their own right will be retained and
preserved.
5. Distinctive materials, features, finishes, and
construction techniques or examples of
craftsmanship that characterize a property will be
preserved.
6. Deteriorated historic features will be repaired
rather than replaced. Where the severity of
deterioration requires replacement of a distinctive
feature, the new feature will match the old
in design, color, texture, and, where possible,
materials. Replacement of missing features will
be substantiated by documentary and physical
evidence.
7. Chemical or physical treatments, if appropriate,
will be undertaken using the gentlest means
possible. Treatments that cause damage to
historic materials will not be used.
8. Archeological resources will be protected and
preserved in place. If such resources must be
disturbed, mitigation measures will be undertaken.
9. New additions, exterior alterations, or related
new construction will not destroy historic
materials, features, and spatial relationships that
characterize the property. The new work will be
differentiated from the old and will be compatible
with the historic materials, features, size, scale and
proportion, and massing to protect the integrity of
the property and its environment.
10. New additions and adjacent or related new
construction will be undertaken in such a manner
that, if removed in the future, the essential form
and integrity of the historic property and its
environment would be unimpaired.
City of Aspen • Historic Preservation Design Guidelines • 95